‘crowning it all were Sophie Martin and Jerome Anthony Barnes in the Sugar Plum pas de deux...Martin has come back at the top of her game – a gorgeously stunning mix of warmth and distant glamour, every movement and gesture perfectly weighted. Such bliss. ’

The Secret Theatre, DanceTabs, December 2020

‘Sophie Martin lends sparkling elegance and glacial beauty to the Sugar Plum Fairy’

The Secret Theatre, Bachtrack, December 2020

‘the closing pas de deux between Sophie Martin’s Sugar Plum Fairy and the outstanding Jerome Anthony Barnes as the Nutcracker Prince – it seems graceful and otherworldly.’

The Secret Theatre, All Edinburgh Theatre, December 2020

‘Sophie Martin and Thomas Edwards – in a duet, Mea Culpa – exemplify Laplane’s heartland strength of revealing relationship truths through contact and distance, edgy angles and sudden, trusting lyricism.’

Sophie Laplane's Dextera, The Herald, April 2019

‘With the leading man and lady played by Barnaby Rook Bishop and Sophie Martin on the night, not a single foot was out of place, and their strength and stamina was something to behold. ’

Christopher Hampson's Cinderella, Scottish Field, January 2019

‘danced with a gorgeous, controlled grace by Sophie Martin' (as Cinderella) ’

Christopher Hampson's Cinderella, The Telegraph, December 2018

‘Sophie Martin’s Cinderella has a winning combination of vulnerability and steel, exemplified by some rock-solid yet expressive en pointe work ’

Christopher Hampson's Cinderella, All Edinburgh Theatre, December 2018

‘Sophie Martin is wonderful as Cinderella, and from the first moments of her appearance on stage, the audience is pulled into her world...Sophie Martin as always is a joy to watch in any role, and here, combining deceptively effortless technical skill with an ability to at times appear almost weightless on stage ’

Christopher Hampson's Cinderella, Southside Advertiser, December 2018

‘Sophie Martin's Fairy floats with swan-like poise and her precision in the choreography – which, while classical, has an edge of modernism to its odd twists and angles, mirroring Stravinsky's unexpected discords – is a joy to watch.’

Kenneth MacMillan's The Fairy's Kiss, The List, August 2017

‘In the dual roles of Odette and Odile, Sophie Martin is a tiny powerhouse of muscular dynamism. Floating ethereally as the loving but strong-minded Odette, then feisty and duplicitous as the black-clad Odile. It’s easy to see how Siegfried (played here with dramatic integrity by Christopher Harrison) falls head over heels in love with them both.’

David Dawson's Swan Lake, The Scotsman, 2016

‘All eyes, though, had to be on Sophie Martin as the first-cast Odette/Odile. Her spidery elegance, elongated muscularity and heightened sense of performance were riveting.’

David Dawson's Swan Lake, The Times, 2016

‘The choreography for the swans is even better – a stretched, strange, febrile language of arched backs and spiralling arms – and Sophie Martin’s Odette is superb, both delicate and fierce.’

David Dawson's Swan Lake, The Guardian, 2016

‘…wonderful Sophie Martin’s powerhouse central performance as Odette and Odile – a complete, credible, chalk-and-cheese reinvention between the two, and dancing of superb litheness and musicality throughout.’

David Dawson's Swan Lake, The Telegraph, 2016

‘The climax is a precision pas de deux between Erik Cavallari's Nutcracker Prince and Sophie Martin's Sugar Plum Fairy, with Martin's pirouettes performed to perfection.’

Peter Darrell's The Nutcracker, Edinburgh Spotlight, December 2015

‘The original Romeo and Juliet, Erik Cavallari and Sophie Martin, have gone from strength to strength in this. Technically they thrill and delight, as always, but there's an added command of characterisation that really does tug at the heart.’

The Herald Scotland, April 2014

‘Constant Vigier as Hansel and Sophie Martin as Gretel are instantly loveable with their petty fights over teddy and game-playing and cunning theatrical tricks are used to ensure we never forget they are children.’

Christopher Hampson's Hansel & Gretel, John O’Groat Journal, January 2014

‘Constant Vigier as Hansel and Sophie Martin as Gretel avoided appearing coy and sentimental and instead brought an innocence and vulnerability to the drama that did not threaten the necessary suspension of belief.’

Christopher Hampson's Hansel & Gretel,, January 2014

‘Sophie Martin is earthy and passionate as Stella.’

Nancy Meckler/Annabelle Lopez Ochoa's A Streetcar Named Desire, The Herald, April 2012

‘Sophie Martin’s pregnant Stella is the moral touchstone, sensual and earthed. Her conciliatory duet with Stanley is not only startling gymnastic; it’s almost certainly the most erotic thing on any stage right now.’

Nancy Meckler/Annabelle Lopez Ochoa's A Streetcar Named Desire, Independent on Sunday, April 2012

‘No praise too great for Sophie Martin as the Woman: such selfless clarity, such artistry, are beautiful. I remember MacMillan's comment when faced with dancers' wilfulness: "Why don't they trust the steps!". Sophie Martin trusts the steps with all her being, and is magnificent.’

Kenneth MacMillan's Song of the Earth, Financial Times, November 2011

‘Most memorable of all was Sophie Martin as the female lead whose long solo in The Farewell was danced with impassioned, tangible longing.’

Kenneth MacMillan's Song of the Earth, Independent Dance Reviews, November 2011

‘The exception was, again, Sophie Martin, a mesmerizing presence as a loner adrift in the world. Enter the equally expressive Erik Cavallari; their concluding love duet made the heart tingle.’

Kenneth MacMillan's Song of the Earth, LA Times, October 2011

‘Sophie Martin was outstanding as the leading woman, her performance beautiful, serious and heartfelt in its phrasing and pulse. She began filled with longing and ended in transcendent resignation as death takes her lover. There is every reason for Scottish Ballet to dance Song of the Earth, and Sophie Martin is the strongest reason of all.’

Kenneth MacMillan's Song of the Earth, The Times, August 2011

‘Sophie Martin as the Young Woman is excellent. A dew of expectancy and curiosity overlays the exquisite finish of her dancing, making her dawning awareness of mortality all the more harrowing.’

Kenneth MacMillan's Song of the Earth, The Guardian, August 2011

‘Sophie Martin as the Woman was outstanding, emotionally affecting in focussing the work’s themes.’

Kenneth MacMillan's Song of the Earth, Sunday Times, September 2011

‘Sophie Martin, her features enigmatic, delivers a high, pure line and phrasing of serene assurance. Her arabesque turns in particular are beautifully sustained.’

Kenneth MacMillan's Song of the Earth, The Observer, August 2011

‘Alice is danced with bright energy by Sophie Martin.’

Ashley Page's Alice, The Guardian, April 2011

‘Sophie Martin is an expressive, appealing Alice, spirited and inexhaustible in her dancing.’

Ashley Page's Alice, Sunday Times, April 2011

‘Sophie Martin as Alice is on stage for most of the ballet but she looks as delicious and lively in the very last scene as she does when we first meet her. Erik Cavallari is a warm and caring Dodgson. Dancing both together and separately, they move with a remarkable fluidity which is a joy to look at.’

Ashley Page's Alice, Theatre in Wales, May 2011

‘Sophie Martin as Cinderella brings a certain fragility and sweetness to the role. In the title role, Sophie Martin excels, moving as if she is a feather blown by a breeze.’

Ashley Page's Cinderella, Press and Journal, January 2011

‘Erik Cavallari (Romeo) and Sophie Martin (Juliet) give genuinely beautiful and touching lead to a deservedly revived Scottish Ballet success.’

Krzysztof Pastor's Romeo & Juliet, Daily Telegraph, April 2010

‘Cavallari and Martin stand out, their attraction immediate and complete. Their love duets are pure romance.’

Krzysztof Pastor's Romeo & Juliet, The Stage, April 2010

‘The lovers themselves are danced with truly affecting anguish by Erik Cavallari (Romeo) and Sophie Martin (Juliet).’

Krzysztof Pastor's Romeo & Juliet, Sunday Herald, April 2010

‘I believe few couples could betther the performances of Sophie Martin and Adam Blyde in the lead roles. Their partnership is fluid and superbly in sync. The sixth sense they seem to possess became ever more vivid later in the programme. Both have crystal techniques, beautiful lines, jumps, pirouettes and sparkling personality, but the icing on the cake is their instinctive musicality. Each used Stravinsky’s score with such a sense of clarity and innate understanding, it was a joy to watch.’

George Balanchine's Rubies, Dance Europe, November 2009

‘That Sophie Martin, Scottish Ballet’s French leading lady, had enough personality to suggest Bette Midler curves despite her refined build, is a measure of what fun she was to watch.’

George Balanchine's Rubies, The Arts Desk, November 2009

‘Sophie Martin was a stand-out soloist, her flirtatious show-girl fizz never flagging.’

George Balanchine's Rubies, Independent on Sunday, October 2009

‘Blyde and Martin [are] sublime in their aria – total bliss.’

Krzysztof Pastor's In Light and Shadow, Dance Europe, November 2009

‘Sophie Martin as Carmen had much in common with her fellow countrywoman Sylvie Guillem, demonstrating an enviable precision, strength and musicality. She has a graceful, unhurried perfection of movement which runs all the way to the very tips of her elegant fingers and toes.’

Richard Alston's Carmen, Jenny Macfie, May 2009

‘"One of the best performances the principals of this company have ever given."’

Ashley Page's Cheating, Lying, Stealing, The Scotsman, April 2009

‘Sophie Martin portrays that combination of sweet innocence and petulant adolescent determination that makes for a believable Juliet.’

Krzysztof Pastor's Romeo & Juliet, The Guardian, May 2008

‘Sophie Martin’s Princess Aurora was the icing on the fantastic cake.’

Ashley Page's The Sleeping Beauty, Press and Journal, January 2009

‘It was Sophie Martin and Ruth Vaquerizo Garcia who stole the show, however. Their duet was so perfectly symmetrical that it looks as if there was only one ballerina onstage, dancing in a mirror.’

George Balanchine's Agon, Edinburgh Evening News, April 2007

‘In Episodes, we are dazzled by Sophie Martin (with Adam Blyde) in the opening sequence, as she makes vivaciously slinky work of Mr B’s sharp-edged choreography.’

George Balanchine's Episodes, Sunday Herald, April 2006