“Burnett had the audience in the palm of her hand."

"Burnett and (Rudy) Hawkes make fine partners. They move together smoothly and sympathetically, as one really. As a result I wasn’t watching technique, although I did love those expansive sissones from Burnett in Odette’s solo ... but I was following the story, which was developing with immense clarity. And I got the feeling that the rest of the audience was as absorbed in the unfolding narrative as I was. A really unusual and very beautiful, almost palpable silence filled the auditorium … the story took over. It was deeply moving.”

Michelle Potter on Graeme Murphy's Swan Lake, 22 February 2015

 

"Burnett made a memorable debut. Here was an enchantingly radiant lass whose joy and excitement were vibrantly captured in sparkling eyes and a glowing face. When she stroked the fabric of Bathilde’s lavish gown she was enjoying its beauty rather than being overawed by such splendour. And I loved the way Burnett scrunched up the side of her simple yellow skirt when walking beside Bathilde so it wouldn’t touch the Princess’s costly attire. She made these details and many others fresh and individual... Burnett’s Giselle was alert and full of life. In the weightless curve of her arms and poised balances that reached upwards Burnett was not so much a spirit in waiting but a young woman buoyed by love. Then, when she learned of Albrecht’s perfidy, the light was switched off. White-faced and stricken, Burnett’s Giselle was crushed beyond endurance. The mad scene was frantic and incredibly moving. Burnett’s second act was beautifully composed and she looked wonderful in the soft, forward-leaning stretches and airborne beaten steps that show Giselle scarcely tethered to the ground."

Deborah Jones on Maina Gielgud's Giselle, April 19 2015

 

"In the Variation de la Flute, Juliet Burnett was assured and in control – her series of thrusting developpé passé, seamless"

Dance Australia on Serge Lifar's Suite en Blanc, 3 March 2014

 

“I was impressed by Juliet Burnett and Andrew Killian who danced the pas de deux from Nutcracker. Burnett was poised and controlled in one of the most classical of pas de deux. Her adagio movements unfolded with an elegance and calm sense of control and she allowed us to see the structure of every développé, every arabesque.”

Michelle Potter on Sir Peter Wright's Nutcracker, 20 March 2012

 

“I was lucky enough to see Juliet Burnett in the leading role on this second viewing. She handled Murphy’s ever-changing and ever-challenging choreography as if she were born to dance his steps. She was bubbling with youth as she ran across the stage on pointe in the opening sequence. She soared through lifts in Murphy’s pas de deux and in those scenes in which the black-garbed holy men transported her across the stage. Her expressive arms gave a joyous quality to those moments where her young love for Romeo needed to be shown. But those arms also conjured up something entirely different, something leaden and full of fear when, for example, she reached out in an attempt to pick up the bottle of poison from her bed. It was this quality of being able to express emotion so well through the body, and not just through facial expression, that made her performance so exhilarating. But perhaps most of all it was a thrill to watch her portray the character of Juliet and to maintain that characterisation across the entire ballet, despite the changes of time and location. A stellar performance from Burnett who was partnered by Rudy Hawkes as Romeo.”

Michelle Potter on Graeme Murphy's Romeo and Juliet, 11 December 2011

 

“Juliet Burnett and Rudy Hawkes were superb as the lovers, perfectly capturing the essence of youthful innocence and awakening passion as they revel in the danger of their first forbidden meeting . They could not keep their eyes, or their hands, off each other, all the while dancing with confidence and abandon. That they were able to maintain this feeling of ecstatic love throughout the ballet, while executing demanding, often seemingly dangerous choreography, made their debut performance in these roles particularly memorable. “

Bill Stephens on Graeme Murphy's Romeo and Juliet, Canberra Critics Circle, 23 December 2011

 

 “Juliet Burnett made a strong impression with a beautifully controlled performance in the pas de deux that comprises the second movement. “

Michelle Potter on Kenneth MacMillan's Concerto, 16 May 2011

 

“But it was the second movement, pas de deux, danced by Juliet Burnett and Andrew Killian, that caught my imagination and captured my heart ... ethereal and beautifully realised.”

Lloyd Bradford Syke on Kenneth MacMillan's Concerto, Crikey, May 8 2011

 

Tidy ensemble and fine solo work are on show, notably Juliet Burnett's ravishingly supple technique and nuanced interpretation.”

·Eamonn Kelly on Stephen Baynes' Beyond Bach, The Australian June 13 2011

 

“Delicately beautiful Juliet Burnett shines as Sophie."

Amy Hyslop on Graeme Murphy's The Silver Rose, Australian Stage 4 March 2010

 

Juliet Burnett's performance as Sophie is captivating in its youthful sincerity and immediately believable.”

· Shaaron Boghen on Graeme Murphy's The Silver Rose, The Australian March 2 2010

 

“To add to the pressure of opening night and an Australian premiere, two young dancers Juliet Burnett (Sophie) and Ty King-Wall (Octavian) were given the opportunity of principal roles. Their debut was triumphant. The depth of this company is breathtaking.”

Matt Foley on Graeme Murphy's The Silver Rose, Stage Diary 26 February 2010

 

"Plucked from the rank of coryphee for the title role in Matjash Mrozewski's work Semele, Burnett is captivating with her long legs, wild hair and effortless flexibility. She is well partnered by principal Robert Curran."

Julie Huffer on Matjash Mrozewski's Semele, Sydney Morning Herald 8 November 2008

 

"(As Semele,) Juliet Burnett was freely sensual even down to her tangling hair. Her uninhibited twists and turns were matched by increased adrenalin in the music as the pitch range broadened and both tempo and volume increased."  

 Angharad Davis on Matjash Mrowzewski's Semele, 4 December 2008