That’s an easy question. It was, of course, George Balanchine. He came from Russia via Europe and settled in America in 1933. He started a little company which was not very successful, so he had to start over and over again. Ultimately, he founded the New York City Ballet. I happened to be born at the right time, came to the right place, and had the fortune to audition for him, and work with him, because he is the genius of the century of ballet. I learned how to dance with him.

Oh, over the years, there are so many. One would be the man — I wanted to take his job away some day — Paul Zimmerman, sports editor of the L.A. Times. Jim Murray is writing for the Times now. Red Smith. I had the honor of meeting Grantland Rice way back when I was at the University of San Francisco. When we played New York in football back in 1951. Just a lot of good sports writers became friends of mine. And I respect them a great deal.

Growing up, it was the music, the style, it was what you saw, what you read, what you looked at, the vernacular that influenced you the most. I carried that, it was so important to me.

I had a bunch. When I was young, I really loved the Black-Eyed Peas and The Gorillas and bands like that. And then as I got older, I discovered Amy Winehouse and Lauryn Hill and older singers like Etta James. I gravitated towards a lot of young women who just played guitar and had great voices and wanted to emulate them in whatever I did, so they really inspired me.

Everything. Theatres are ready for disabled audiences, more or less, but they aren’t ready for disabled artists. An example I always give is: theatres don’t always have an accessible toilet backstage, so you can’t pee before the show, or if you do you’re halfway through make-up and you have to run to the front where the audience is. The main issue is physical access, but it is improving.

I have reached the point in my career where I can choose my collaborators and the artists I want to create with. My Kinetic Light partners, Laurel Lawson and Michael Maag, are my dream collaborators, and Kinetic Light is the place, time, and people with whom I am making some of the most creative and meaningful work of my life.

Do it. It is the hardest thing you will ever do and it will bring you immense joy. You won’t be alone, there is an entire community here for you.

Laurel and I collaborated with director Katherine Helen Fisher and other talented artists on the dance film REVEL IN YOUR BODY and that continues to screen all over the world

When stuck, go to someone else’s show—in a different discipline

What I think you’re asking is, “Does it change the movements on stage if you have people come and watch it?” I would say, yes it can, but not always. Not every comment will lead me to go back to the stage and change something… but it can. Often you don’t know how stuff is landing, so it can be helpful to get a viewer’s perspective. Since I’m in the piece, I’ll never be able to see what it looks like from the outside.