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Within the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his arms defined beneath a simple tee. On stage, dancers can appear as mighty gods, yet frequently in person they are small. This is not true for Ball, whose height is one reason for his popularity for heroic characters and partnering. Possessing delicate traits and intense eyes, there's a touch of Robert Pattinson about him.

A Seamless Ascent to the Top

Now 31, Ball is enjoying the peak of a career that has advanced smoothly. Growing up in Liverpool, he encountered little teasing for his childhood passion in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was promoted annually, attaining the top rank of principal in 2018. He has relished tackling substantial characters, particularly the psychological turmoil found in a famed choreographer's works.

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

His upcoming featured appearance is in a talk, in an "Evening With" event designed to offer intimate insights into a dancer's art. He will walk the crowd through a part, showing his mental process while performance. Even in more comedic works, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.

The Psychological Game and After the Show Feelings

What about after a performance, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel embarrassed afterwards. Following an intense role I'm always like: God, what must people think?"

In person, Ball is thoughtful, polite, and quick to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Does this exist? "I'm quite active usually, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."

Formative Drivers and Creative Influences

Ball's determination originated in youthful setbacks. Not doing well in competitions at school made him "vengeful!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.

An upcoming endeavor is creating his own dance works. For Ball, "there's nothing wrong with." "Breaking the conventions is compelling, but just pretending 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 loaded with meaning, drawing inspiration from books, music, and art.

Close-Up Performance and Personal Dynamic

He also is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a previous experience. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"

Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They are not typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."

On Social Media and Bodily Perception

On social media, followers can see videos from his dance films and photos that highlight a athletic physique. Does he care that the response can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on various levels.

Ball characterizes his early self as "eager for success." Did it lived up to his hopes? "I am conscious of how reality is a separate thing to the dreams you had as a child," he reflects. He likely has about decade of performing left. "I guess in the time to come, I want to be a bit more kind with myself."