[2] Following Radlov's acrimonious resignation from the Kirov in June 1934, a new agreement was signed with the Bolshoi Theatre in Moscow on the understanding that Piotrovsky would remain involved.

[4] The ballet's production was then postponed indefinitely when the staff of the Bolshoi was overhauled at the behest of the chairman of the Committee on Arts Affairs, Platon Kerzhentsev.

[5] The ballet's failure to be produced in the Soviet Union until 1940 may also have been a result of consequences in the performing arts following Pravda's denunciation of Dmitri Shostakovich in 1936, as well as other "degenerate modernists" including Piotrovsky.

[6] The conductor Yuri Fayer met with Prokofiev frequently during the writing of the music, and he strongly urged the composer to revert to the traditional ending.

The history of the creation of the ballet was recited by the composer Sergei Prokofiev himself: At the end of December (of 1934) I returned to Leningrad specifically for the negotiations with the Kirov Theatre.

In 1962, John Cranko's choreography of Romeo and Juliet for the Stuttgart Ballet helped the company achieve a worldwide reputation.

Eva Evdokimova danced the leading role Juliet in London and Paris, and it continues to be a popular ballet in the ENB repertoire, with its most recent revival in 2010 staged by Patricia Ruanne and Frederic Jahn of the original 1977 cast.

In 1990, director Armondo Linus Acosta used Prokofiev's score, performed by the London Symphony Orchestra, to create a motion picture adaptation of Shakespeare's Romeo and Juliet.

In 1996, choreographer Jean-Christophe Maillot premiered his version of Roméo et Juliette at Les Ballets de Monte Carlo.

Taking formal inspiration from the episodic character of Sergei Prokofiev's classic score, Maillot structured the action in a manner akin to cinematic narrative.

Rather than focusing on themes of political-social opposition between the two feuding clans, this Romeo and Juliet highlights the dualities and ambiguities of adolescence.

Musicologist Simon Morrison, author of The People's Artist: Prokofiev's Soviet Years, unearthed the original materials in the Moscow archives, obtained permissions, and reconstructed the entire score.

The Mark Morris Dance Group premiered the work at the Fisher Center for the Performing Arts at Bard College in New York state.

The production subsequently began a year-long tour to include Berkeley, Norfolk, London, New York, and Chicago.

In 2019 at the Curve Theatre, Leicester Matthew Bourne choreographed an alternative adaptation of Romeo and Juliet set in a mental hospital called 'Verona Institute'.

Erich Leinsdorf conducted the Los Angeles Philharmonic Orchestra for an audiophile recording of excerpts on the Sheffield Lab label released in 1978.

[13] Michael Tilson Thomas conducted the San Francisco Symphony Orchestra in 1995, in selections from the score, for RCA Victor.