Corps de Ballet
The Harid Conservatory
San Francisco Ballet School
San Francisco Ballet School Trainee Program
Named an apprentice in 2009
Joined the Company as a member of the corps de ballet in 2010
Myles Thatcher created roles in Bubeníček’s Fragile Vessels, Caniparoli’s Tears, King’s The Collective Agreement, Lopez Ochoa’s Guernica (principal couples), Pita’s Salome, Possokhov’s Optimistic Tragedy, Tomasson’s Caprice, and Scarlett’s Hummingbird. He has performed principal or featured roles in Tomasson’s Giselle, Nutcracker, Romeo & Juliet, and Swan Lake; Tomasson/Possokhov’s Don Quixote; Cranko’s Onegin; Balanchine’s Symphony in C, Symphony in Three Movements, and Theme and Variations; Caniparoli’s Ibsen’s House and Lambarena; Lifar’s Suite en Blanc; Scarlett’s Hummingbird; and Wheeldon’s Cinderella, Ghosts, and Within the Golden Hour.
His repertory includes Balanchine’s Allegro Brillante, Coppélia, Diamonds, The Four Temperaments, and Stravinsky Violin Concerto; Fokine’s Petrouchka; Forsythe’s Artifact Suite and Pas/Parts 2016; Morris’ Drink to Me Only With Thine Eyes; Neumeier’s The Little Mermaid; Peck’s Rodeo: Four Dance Episodes; Possokhov’s Classical Symphony, Fusion, Magrittomania, and Swimmer; Ratmansky’s Shostakovich Trilogy; Robbins’ Glass Pieces and The Concert; Scarlett’s Frankenstein; Tomasson’s On a Theme of Paganini, Prism, and Trio; and Wheeldon’s Continuum and Rush.
Myles choreographed Redbird for Charlotte Ballet; Otherness, Ghost in the Machine, Manifesto, and In the Passerine’s Clutch for SF Ballet; Foragers for The Erik Bruhn Prize competition; and works for the Rolex Arts Weekend, New York City Ballet, Joffrey Ballet, and SF Ballet School. He danced Paris in the 2015 film of Tomasson’s Romeo & Juliet (Lincoln Center at the Movies: Great American Dance).
Selected by Alexei Ratmansky, Myles participated in the 2014–15 Rolex Mentor & Protégé Arts Initiative. He was nominated for Isadora Duncan Dance Awards for choreography for Manifesto and Ghost in the Machine.
WHAT'S YOUR FAVORITE COSTUME? WHY?
The men's Classical Symphony (Possokhov) costumes designed by Sandra Woodall might be the most flattering and comfortable things I've worn on stage.
WHAT HAS BEEN YOUR PROUDEST MOMENT AS A DANCER? WHY?
I feel it’s hard for dancers to feel personally proud of their work. I feel most proud when our Company collectively pulls off a hard tour, or puts together a full-length ballet that we all care about.
IF I WEREN'T A DANCER I'D BE...
A dance maker, I'd hope. I guess I caught the ballet bug...