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In the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his arms defined beneath a simple white T-shirt. On stage, ballet dancers can seem as powerful gods, yet frequently in person they are small. Not so Ball, whose tall stature is part of his popularity for heroic characters and partnering. Possessing delicate features and piercing eyes, there's a hint of a brooding actor about him.

A Seamless Ascent to the Pinnacle

At 31, Ball is experiencing the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced little teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was advanced annually, attaining the top rank of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's ballets.

"Your breath is short, your legs get heavy, but it’s really a neural fatigue."

Ball's next featured appearance is as himself, in an "In Conversation" event designed to offer intimate perspectives into a dancer's art. He will walk the audience through a role, showing his mental workflow while execution. Even in more comedic works, the test is profound. "Don Quixote is one of the most demanding technically," he notes.

The Psychological Struggle and Post-Performance Feelings

How does he feel following a show, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the character, quite often I do feel self-conscious afterwards. Following Mayerling I'm always thinking: Wow, what must people think?"

In person, Ball is reflective, polite, and prone to laugh at himself. But a choreographer previously observed on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."

Early Motivations and Artistic Inspirations

Ball's tenacity stemmed from youthful experiences. Not excelling in contests at school made him "driven!" This became motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.

The next endeavor is making his own choreography. In his view, "organic movement has value." "Challenging the rules is interesting, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be filled with substance, drawing inspiration from books, compositions, and painting.

Close-Up Dance and Private Partnership

He also is interested in staging dance in smaller venues. "It was just really exciting," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"

Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest supporter."

Regarding Instagram and Bodily Perception

On Instagram, fans can see clips from his dance films and photos that showcase a athletic form. Does he care that the response can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be seen on multiple ways.

Ball characterizes his younger self as "desperate for success." Did it met his expectations? "I feel very aware of how life is a separate reality to the dreams you made as a child," he reflects. He likely has about ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."