Whilst working together on Cyrano, composer Carl Davis gave me a pre-release recording of his ballet Aladdin, which had been created for the Scottish Ballet some years before, with choreography by Robert Cohan. The ballet had failed to maintain a place in the repertory but Carl was rightly proud of his music and had arranged for a recording to be made and this was what I listened to in my car, journeying from Birmingham to Salford, the next stop on a BRB tour.

The last thing on my mind was a ballet on the subject of Aladdin; too many pantomimes, too Disney! But…. I just fell in love with the music! Fortunately I found elements of the original scenario somewhat lacking and persuaded Carl to make enough changes and write sufficient new music for my new vision, that I could almost claim Aladdin entirely for myself!

The ballet was made in a whirlwind of creativity for the ballet of the New National Theatre in Tokyo, the company I was later to assume direction of and restyle The National Ballet of Japan. The dancers were not accustomed to working with unfamiliar choreographers and that, as well as language and time restrictions meant I had to work fast and in an open, classical vein that the dancers would grasp quickly, with no time for experimentation and soul searching.

The principal roles were created over three casts, Aladdins and Princesses all bringing something to the party, and the large accompanying cast was supported and coached by ballet staff as I hurled choreography at them. It was both exhilarating and liberating, and at no point was I ever concerned what an audience might think of it, until opening night, when they seemed to approve. The production remains a favourite in Tokyo where, despite other productions in Birmingham and Houston, dancers and audience regard it is ‘their’ ballet.