* The lovely lighting and billowing white dress for Giulietta, coupled with Giulia Luzi's angelic voice, in ''Ama e cambia il mondo'' makes her look like a pure moon goddess. [[note]]''That thou, her maid, art far more fair than she.''[[/note]]
* Romeo screaming, "ICH LIEBE DICH!!!" at the top of his lungs as he descends from Julia's room while she giggles happily in the background of the Vienna production.
* "Et voila, qu'elle aime" ("And look, she's in love"), in which the Nurse is both happy that Juliet's found romance and afraid to lose her.
* Julia overhears her father's soliloquy about how he only wants her to marry Paris to secure her future and safety in the Austrian version, and she runs to him and hugs him tightly when he finishes the song. Doubles as a TearJerker, since while she doesn't know she'll end up ''really'' dying, she still plans on faking dead and running away with Romeo, and thus it's secretly a farewell hug to the father she loves and will never see again.
* In the 2019 Toho production, Lord Capulet admitting that, even though he knows Juliette isn't his biological daughter, he loves her just as much as his own daughter.
* Another little moment that doubles as TearJerker for the Nurse: when she calls Julia "mein Kind, mein Herz" [[note]]''my child, my heart,''[[/note]] during Die Verzweiflung (Duo du désespoir).
* Within the choreography is often portrayed the duplicitous nature of [[InterplayOfSexAndViolence affection and violence]]. A hug quickly turns into a grapple and vice versa, the taunting takes an erotic aspect, and enemies lean on [[HeadbuttOfLove each other's foreheads]]. It implicitly shows that the violence is the cause of lonely people lashing out, and subconsciously reaching out, rather than true viciousness. This is usually most visible in the duel when Romeo attempts to reason with Tybalt, and in any interaction between Tybalt and Mercutio. It implies that ThePowerOfLove could easily turn the fight around, were it not for the forces of fate.
* The ending usually has all the Montagues and Capulets literally embracing each other, starting with the ladies of the houses, taking the former entry to it's natural conclusion.
** Tybalt and Mercutio have their arms around each other in the Austrian production. Shippers who have run on [[HoYay Tybalt straddling Mercutio and kissing him full on the mouth]] as fuel rejoiced.
** Special props to the 2019 Toho production, where Lord Montague and Lord Capulet approach the Prince in the tomb, Lord Montague holds out his hand. There's a pause, and then Lord Capulet places his hand on Lord Montague's, with the Prince putting his hand over both of theirs, all three of them promising a truce. Then, Lord Capulet pulls Lord Montague in for a hug as the ensemble sings a reprise of "Aimer." A far cry from the two of them coming close to blows in "Verone."
* The final song played after the curtain call gives the impression that Romeo, Juliet, Mercutio and Tybalt may finally be happy in the afterlife, depending on how it's played.
* The Takarazuka versions end with a reprise of "Aimer" while Romeo and Juliet dance together (either as ghosts or in heaven). Love's satisfied (rather smug) smile as she watches them, and Death joining her on the platform, is her last word. Love always prevails.
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