I'm in the position to pick the cream of the crop.
Sydney is a very good market for us - we have a very strong following here.
For me it was really important to get the essence out of the music for the story and not, sort of, press the music into the service of the whimsical telling of it.
Mostly, I'm in the very enviable position that no one dictates what I do.
I look at the dancers and I get the inspiration for the work from them.
I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.