And currently, there are four to five new works in the pipeline for upcoming celebrations such as the Sydney 2000 Olympics, Australian Federation, my 50th Birthday, and Sydney Dance Company's 25th Anniversary.
But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.
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.
I always figure I have this tree and there's always some green fruit that's not ready to pick or blossoms that are ready to flower; there are always some ready to drop off too.
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.
If the year 2000 can help us move into the future, that's fine, but I am afraid that people see it as a full stop and that one can take a big breath afterwards - you can't.
It's the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I'd be able to do something quite honest.
