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Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly straight-backed, his arms defined beneath a simple tee. On stage, dancers can appear as mighty gods, yet frequently offstage they are petite. This is not true for Ball, whose height is one reason for his demand for princely characters and pas de deux work. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.

A Seamless Rise to the Pinnacle

At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Raised in Liverpool, he encountered little ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated directly into the company and was advanced annually, attaining the highest position of principal in 2018. He has loved taking on substantial characters, particularly the psychological turmoil found in Kenneth MacMillan's ballets.

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

His next starring role is in a talk, in an "In Conversation" event aiming to offer intimate insights into a performer's craft. He will walk the crowd through a part, demonstrating his cognitive workflow while performance. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the toughest technically," he states.

The Psychological Game and Post-Performance Emotions

How does he feel after a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed later. After Mayerling I'm always like: Wow, what must people think?"

In person, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Is there? "I am very energetic in general, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."

Early Motivations and Creative Influences

Ball's determination stemmed from youthful experiences. Not excelling in competitions at school made him "driven!" It was fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.

An upcoming endeavor is creating his own dance works. For Ball, "organic movement has value." "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 wants his work to be filled with substance, drawing inspiration from books, music, and art.

Intimate Performance and Personal Dynamic

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

Ball has created duets with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their home company, which is perhaps healthy. "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."

Regarding Instagram and Bodily Image

On social media, followers can see clips from his projects and photos that showcase a athletic form. Does he mind that the response can be somewhat focused on appearance? Not particularly. "The body is just what we use, 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 "desperate for success." Has it lived up to his expectations? "I am conscious of how reality is a separate thing to the dreams you made as a child," he reflects. He probably has about ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."