As Director of Scottish Ballet's Movable Workshop and an emerging choreographer myself, watching Peter work in the early seventies was such a privilege. His method: sculptural approach to the body, ability to draw out what he wanted from the dancer; musicality and creative skills were truly inspirational - I learnt so much.

Having been a dancer with Western Theatre Ballet for three years, and the first season with Scottish Theatre Ballet, I worked closely with the late Peter Darrell and danced in many of his ballets. His influence on my career as a dancer and later as a choreographer was immense. His artistic vision in tackling interesting music and ballet subjects, was very daring and exciting. He made an impact on all those dancers who worked with him and of course the audiences. His influence on British Ballet was enormous. He is greatly missed.

Peter always gave you the feeling that you, as a dancer, had been the greatest contributor to the creation of a ballet, and he made you believe you could do anything that was asked of you; to wear a huge body made of birdseed in Herodias; climb a near vertical staircase to have your head chopped off in Mary Queen of Scots or, to balance on point whilst falling in love with the Prince in Cinderella.

I especially remember that, at the end of the creation of Five Rückert Songs none of us who were involved felt the need for stage, costumes or even audience to bring a sense of fulfilment. The fulfilment had been in the making. Maybe this is why, after twenty-one years, Peter's ballets, like the words in a book, can still live today for both dancers and audience.