“It has been incredible to have that time to really focus on craft,” he said in an interview after his rehearsal. “Watching the recreation of ‘Paquita’ allowed us to talk through the structure and composition of the work. It made me feel much more confident in a classical medium.”

During this time, Mr. Thatcher was also was working on “Manifesto,” his first full piece for the San Francisco Ballet. “I would bring Alexei videos, which was nerve-racking,” he said. “But I learned a huge amount, mostly to keep trying to find clarity within my instincts, and how to problem-solve when you run into tricky moments.”

Ms. Peck, a principal dancer, said that while she could see some of Mr. Ratmansky’s influence on Mr. Thatcher, he had his own distinctive voice. “He is very specific about the movement, quick with the legs, and he likes a fluid, breathy upper body,” she said. “It’s a very classical style, but he is making it new.”

Mr. Ratmansky described Mr. Thatcher as “very analytical. He has a very complex sense of the polyphonic sense of spacing and contrasting tempo and choreographic ideas. I think he is a master at putting steps together.” He paused. “Whether he has the striking originality in the themes he takes, or the tone of his voice, that’s yet to be seen. But he choreographs with a lot of sophistication.”

Mr. Binet, who made his first ballet at 11, said he knew from early on that he wanted to be a choreographer. “I love the studio, but I hated performing; I got horrible stage fright,” he said. “But I always thought I would have to have a career as a dancer before I could choreograph.” He created pieces each year for his school’s choreographic workshop, and while still in the pre-professional trainee program, was spotted by Karen Kain, the director of the National Ballet of Canada, who invited him to make a work for the company workshop. At the same time, a serious back injury took him out of active dancing.