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In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly upright, his arms muscular beneath a plain tee. On stage, ballet dancers can appear like powerful gods, yet often in person they are small. This is not true for Ball, whose height is part of his popularity for princely roles and pas de deux work. Possessing delicate features and intense eyes, there's a touch of a brooding actor about him.

An Apparent 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 early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted each year, reaching the highest position of lead dancer in 2018. He has relished taking on meaty dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.

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

Ball's next featured appearance is as himself, in an "Evening With" event aiming to offer behind-the-scenes perspectives into a dancer's art. He will guide the audience through a role, showing his mental process while execution. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.

The Psychological Game and Post-Performance Emotions

How does he feel following a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get lost 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 thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Is there? "I'm quite energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."

Early Motivations and Artistic Influences

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

The next endeavor is making his own choreography. For Ball, "organic movement has value." "Breaking the conventions is interesting, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be filled with meaning, drawing ideas from books, music, and art.

Close-Up Dance and Personal Dynamic

He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a past show. "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 principal Mayara Magri. The degree 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 home company, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."

Regarding Instagram and Bodily Perception

On Instagram, 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 really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be interpreted on various levels.

Ball characterizes his younger self as "eager for success." Did it met his expectations? "I feel very aware of how reality is a different reality to the aspirations you had as a child," he reflects. He likely has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."