Herodias with its lavish costumes and use of the spoken word was more about the realisation of a theatrical concept than it was about steps - Peter the producer was equally inspiring as Peter the choreographer.

I remember doing Prisoners very well, it is ingrained even after all these years. It was a real test of a ballet. Not that it required any great technique, no difficult steps, just emotional commitment. Even when playing a village hall we'd psych ourselves up and plunge into it. The choreography and music so knitted together that time seems suspended and at the end we'd be wrung dry but exhilarated.

My memory of Wedding Present is Peter's manner which was one of quiet excitement and one felt something special was being created during the rehearsals on tour. Dealing with people's sexuality, it was a dramatic piece of theatrical realism with wonderfully challenging roles for Laverne Meyer and myself.

I joined Western Theatre Ballet from Stuttgart Ballet and consider myself tremendously fortunate to have had John Cranko and Peter as my first directors. Both men shared a genuine wish to promote new choreographers and, significantly, both managed to forge with almost all their dancers working relationships which created tremendous loyalty and artistically fruitful teamwork.Three or four years ago I was delighted to read in an American review, that one of my ballets had the stamp of Peter Darrell's influence. This is true, and his example is being emulated by many of us around the world.