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Within the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is naturally upright, his arms muscular beneath a simple tee. On stage, dancers can appear like mighty deities, yet often offstage they are petite. This is not true for Ball, whose tall stature is part of his popularity for princely roles and partnering. Possessing fine traits and piercing eyes, there's a hint of a brooding actor about him.

An Apparent Rise to the Pinnacle

At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered little teasing for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was promoted annually, attaining the highest position of principal in 2018. He has loved taking on meaty characters, particularly the psychological angst found in Kenneth MacMillan's ballets.

"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."

His upcoming featured role is as himself, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a performer's art. He will guide the crowd through a part, demonstrating his cognitive workflow while performance. Yet in lighter works, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.

The Mental Game and Post-Performance Feelings

What about after a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. After an intense role I'm always like: God, what must people think?"

Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."

Formative Drivers and Creative Inspirations

Ball's determination stemmed from early setbacks. Not doing well in competitions at school made him "driven!" It was motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.

An upcoming endeavor is creating his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is compelling, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be filled with meaning, drawing inspiration from literature, compositions, and painting.

Intimate Performance and Personal Partnership

He additionally favors presenting dance in more intimate venues. "It was just really exciting," he says of a previous show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"

Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not usually paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."

On Social Media and Bodily Image

On social media, fans can see videos from his dance films and photos that showcase a athletic form. Does he care that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—something that can be seen on multiple ways.

Ball describes his younger self as "eager for success." Has it lived up to his expectations? "I am conscious of how reality is a different thing to the dreams you made as a child," he reflects. He likely has about decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."