It’s also, I think going to be true that the 20th century is the domain in the classical ballet of the classical male dancer in a way that it never was before. It was always about the ballerina. Part of that is because the choreographers were always men. Consequently, they shaped the roles for women as they wished them to be. When I started choreographing for classical ballet companies there had been, before me, two women who had ever made a ballet on a classical company. So, of course, I’m interested in the male dancer. Plus which, not only Mischa (Baryshnikov), but Rudi (Nureyev) was a virtuoso, and (Edward) Villella. There are these days, young men dancing who have a power and potency that we respond to because of athletics. We’re trained, unfortunately, and indoctrinated in the facts that the male physicality can be marketed in a way the female cannot. Consequently, you have the multimillion-dollar athletes in the male world, and practically none in the female. This has had an impact in the dance world. The stars there in the classical world these days are men. I was fortunate to love men, so I could put them on stage and make roles for them, and move through their bodies in a way that they enjoy doing that they responded to, as the ballerinas have to male choreographers for centuries.