Olivier Award-winning director Peter Schaufuss brings a landmark ballet production of Romeo and Juliet to the 2025 Edinburgh Fringe, celebrating 70 years since its original premiere. This historic staging revives Sir Frederick Ashton’s legendary choreography in a candlelit setting at Ashton Hall at Saint Stephens.
The production features Tara Schaufuss, a leading dancer with the Royal Danish Ballet, performing the role of Juliet originally created by her grandmother, Mona Vangsaae, in 1955. This unique family legacy adds a deeply personal layer to the timeless love story.
Performances run from 13–21 August, with daily shows at 7pm and additional matinees on 15, 16, and 21 August. Tickets are available here.
You’re directing Romeo and Juliet at Ashton Hall at Saint Stephens — what can you tell us about the show?
I wanted to present this Shakespeare play in dance by one of the world’s greatest ever choreographers, Sir Frederick Ashton, as an extremely up-close, personal and intimate experience for the Fringe audience.
The iconic Shakespeare space at Ashton Hall at Saint Stephens lends itself to that type of staging—an opportunity you do not get in a traditional ‘end-on’ proscenium theatre.
My hope is that the audience, through that intimacy, will get a strong emotional theatre experience not often encountered.
This production marks the 70th anniversary of Sir Frederick Ashton’s original choreography. What makes this version so historically significant?
Ashton’s Romeo & Juliet ballet was the very first seen in the Western world, with no influence from the Soviet Bolshoi version, which has shaped all other Western ballet productions since. That makes this production unique.
Historians and critics unanimously agree that there is Ashton’s version of Shakespeare’s Romeo & Juliet—and then all the others. It’s no surprise that Ashton has been called the Shakespeare of dance.
Your daughter, Tara Schaufuss, will be dancing the role of Juliet created by her grandmother. How does it feel to see this family legacy continue on stage?
To have Tara, my daughter, dancing my mother’s role—created for her by Ashton in 1955—as Juliet makes these performances historically unique.
This will never happen again in the history of dance, so every performance will be very special.
The show is performed in a candlelight setting on a Shakespearean octagonal stage. How does this unique staging enhance the audience experience?
The Shakespearean tradition at Ashton Hall started with Sir Ian McKellen’s record-breaking season of Hamlet at the Fringe in 2022.
The octagonal stage at Saint Stephens has been expanded to create an optimal space for dance. The candlelit setting will make the event extra special when the audience arrives at the iconic venue.
You’ve had an extraordinary career in ballet and theatre. What drew you back to Romeo and Juliet for this year’s Fringe?
We like to make unique productions at Saint Stephens for the Fringe Festival.
This historic opportunity will not present itself again, with several second and third generations of the original cast on stage. Just as Ian McKellen starred in his very last Hamlet, Romeo & Juliet with this historic cast will not be seen again.
It is theatre history at the highest level—it’s definitely ‘History Season’ at the Fringe.
What would you say to anyone thinking of booking to see Romeo and Juliet?
I hope audience members will embrace the opportunity to see a classical Shakespearean dance drama—and history in the making.
