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On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.

I come from a school of people, folk singers, and the tradition there is troubadours, and you're carrying a message. Now admittedly, our job is partly just to make you boogie, just make you want to dance. Part of our job is to take you on a little voyage, tell you a story.

And, of course, they've always condemned dancing. You know, you might touch a member of the opposite sex. And you might get excited and you might do something natural.

All music is escapism for me, but I like the way that, on a good night, that sense of escapism can be shared.

I was a late bloomer, but I had a career as a contemporary dancer before that, so I had some kind of connection to this world. But I was always a little more in love with the drama of dancing than the aesthetics, so I thought, 'Why don't you give it a chance if you think you can do it a little different?'

Modern dancers give a sinister portent about our times.

The sight of allegedly sophisticated politicians parroting complete tripe trivialises and demeans government and it has to be stopped. It's played a significant part in public disillusionment with politics and has led to the absurd situation where more people vote for 'Strictly Come Dancing' than voted in the general election.

I'm busier than ever and it's led to new opportunities. But I've never worried about being rich or famous - for me, it's all about the dancing.

Music can be a source of escapism.

I've had an extraordinary life as a dancer. You tour the world, you see all the great capitals of the world, the beautiful old opera houses all over Europe - you go everywhere. As a teenager, I would always say, 'I can't believe this is happening to little me,' because it was always a dream to dance.