At the age of 11, he won a Channel Seven Junior Talent Quest, with a judge comparing him to Fred Astaire.
Druzins, who was a postwar Eastern European emigree to Australia, and who specialised in teaching ballet with a fine degree of discipline, eased Stretton into that form of dance.
During his dancing career, Stretton developed a reputation as a great classical dancer although the New York Times stated in a news report on his death that "acting was not his forte".
Stretton started his new career as a regisseur with the ABT combining administrative duties along with responsibilities for casting, teaching and coaching.
Stretton brought new works into the company's repertoire from a range of choreographers including Twyla Tharp.
He had the reputation of being a demanding artistic director and was known for having a short temper which meant that he often did not have good relations with his dancers.
In particular, the productions of Don Quixote and Sleeping Beauty were strongly criticised, as was his staging of a Gala for the Queen's Golden Jubilee.
Productions of Carmen, choreographed by Mats Ek, John Cranko's Onegin, and Tryst, a new work by Christopher Wheeldon, received more favourable reviews.
Stretton's own statement hinted at artistic differences: "Even though I have enormous respect for the great heritage of this company, my interest lies primarily in developing the future of ballet, and that is what I want to spend my time doing."
Following Stretton's departure Dame Monica Mason, assistant director and a former principal dancer with the company, took his position, at first on an interim basis.