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In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is effortlessly upright, his arms muscular beneath a plain white T-shirt. During performances, dancers can seem as powerful deities, yet frequently in person they are small. Not so Ball, whose tall stature is part of his demand for heroic characters and pas de deux work. Possessing fine traits and intense eyes, there's a touch of Robert Pattinson about him.

A Seamless Rise to the Top

Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was promoted each year, reaching the top rank of lead dancer in 2018. He has loved tackling meaty characters, particularly the psychological turmoil found in a famed choreographer's ballets.

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

Ball's next starring role is in a talk, in an "Evening With" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will walk the audience through a role, demonstrating his cognitive process while performance. Yet in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.

The Mental Game and After the Show Feelings

What about after a show, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get immersed in the character, frequently I do feel self-conscious later. After Mayerling I'm always thinking: God, what must people think?"

Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a dance maker previously observed on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."

Formative Drivers and Artistic Inspirations

His determination stemmed from youthful experiences. Not doing well in contests at school made him "vengeful!" It was fuel to prove he could achieve. Reading 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. For Ball, "there's nothing wrong with." "Breaking the rules is interesting, but just pretending 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 loaded with substance, drawing inspiration from literature, compositions, and art.

Intimate Dance and Personal Dynamic

He also is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a past 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 duets with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They aren’t typically 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. "Yet 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 showcase a athletic form. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—an object that can be interpreted on various ways.

Ball describes his early self as "desperate for success." Did it met his hopes? "I am conscious of how life is a separate thing to the aspirations you had as a child," he muses. He likely has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."