His second work, Pontifical, which he sent to the New Theatre Festival of Sitges in 1966, caused a heated fight in the jury among the loyals to the Francoist regime and neoliberals.
The play's immediate prohibition by censorship helped Pontifical secretly circulate among students in duplicate copies and become a symbol of the oppressed protest theatre.
In 1967, he began working as an editor in the Madrilenian newspaper Nuevo Diario, from which, through his articles, he helped the authors and the most innovating trends of worldwide dramaturgy become known in Spain.
[3] Romero Esteo cultivated the dramatic genre, but also he often approached the essay and more occasionally to poetry and novel.
The Spanish linguist and academician Fernando Lázaro Carreter said about Romero Esteo's work that he “had never seen our theatre go such a long way, neither in such an audacious and intelligent manner” and that “in some of Romero Esteo's works we can find some of the greatest summits ever of European literature”.