There's an unassuming charm about Liam Scarlett, the prodigiously talented 28-year old dance maker whose meteoric rise to choreographic stardom has come in all of four years. He's in town working on his latest ballet, "Hummingbird," which San Francisco Ballet premieres Tuesday at the War Memorial Opera House. But if the pressure of creating a large-scale commission is daunting, he doesn't show it.

This latest work, he says, is inspired by Philip Glass' Tirol Concerto for Piano and Orchestra. It's less narrative-driven than his creations for his home company, the Royal Ballet - his melancholy "Asphodel Meadows" and the murderous melodrama of "Sweet Violets" won wide acclaim - but he is loath nonetheless to call it abstract.

"I feel nothing is truly abstract," he says with an emphasis defused by a boyish grin. "I like bringing in human emotion in dance, and I think it's amazing how the human body can express itself without words. Sometimes when words can't quite deliver what you want to say, body language takes over, even in normal, pedestrian everyday life."

It's a typical observation from the thoughtful Scarlett, who exudes a contained youthful energy, a curious cross of confident good nature capped by an unruly tousle of hair and shyness about his own success.

"He's done so much wonderful work," said San Francisco Ballet Artistic Director Helgi Tomasson in one of the ballet's program notes. "He saw our season in London and said, 'Wow! When do I start?' "

Seeing the whole picture

Scarlett, born in Ipswich, Britain, entered the Royal Ballet's school at age 8, training there until 2005 and joining the company after graduation. He became interested in choreography in school, creating his first pieces on classmates at age 11, and eventually winning awards for his efforts. When he joined the company, then-director Monica Mason told him that she wanted to develop his choreographic talents; and in 2008, she handed him his first major break as a dance maker when she commissioned "Asphodel Meadows" from the 24-year old corps member.

"I spent my dancing career in the corps, so my view from the stage was from past the soloists, past the principals - the audience was way over there," he says without irony. "But I think I've used that to my advantage, because I was so used to seeing the whole picture all at once, instead of just focusing on the principals and forgetting the other parts. Those ballets where we just stood on the side I hated, so I try to give my people something to get their teeth into, no matter where they are in terms of hierarchy."

With his success came a slew of offers to create works for other companies - so many that Scarlett quickly realized balancing two careers was taking a toll. At 26 he retired from the corps, a decision he has no regrets about.

"I loved my dancing, and I didn't want to get bitter about not having enough time," he says, "I've always been someone who wants to give my all, no matter how small the part. I think this art form needs to have your full attention. It deserves love along with all the discipline and hard work."

That was in 2012, and immediately Royal Ballet director Kevin O'Hare created an artist-in-residence position specifically for Scarlett - a wise move. Since then, he's been in hot demand, with commissions for the Miami City Ballet, New York City Ballet and English National Ballet. His heart remains at the Royal Ballet, though, where he is enthusiastic about the balance of "heritage ballets," such as works of Kenneth MacMillan and Frederick Ashton, with those of contemporary artists such as Wayne McGregor and Hofesh Shechter.

Evolution of appreciation

Asked what he would like to see in the future of his art form, he is again thoughtful.

"I don't think it's a question whether ballet will survive or not - it will," he says. "What I do hear people worry about is whether something will be a classic. People expect a classic to be made the day after, but instant classics don't necessarily come around that often. They take time and generations of audiences to interpret, to appreciate, to grow, like any art form.

"Ballet will always evolve and grow and there will be new things, but the wonderful thing about it is your heritage will remain. You will always have 'Swan Lake' to guide you back to where you came from. Then you can go out on a different journey and come back to it, which is wonderful."

San Francisco Ballet Program 7: Liam Scarlett's "Hummingbird," Helgi Tomasson's "The Fifth Season," and Serge Lifar's "Suite en Blanc." April 29-May 10. $40-$340. War Memorial Opera House, 301 Van Ness Ave., S.F. (415) 865-2000.
