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Within the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is effortlessly upright, his limbs muscular beneath a simple white T-shirt. On stage, dancers can seem like mighty deities, yet frequently in person they are small. Not so Ball, whose height is part of his popularity for heroic roles and partnering. With fine features and piercing eyes, there's a hint of a brooding actor about him.

A Seamless Rise to the Top

At 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal teasing for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved straight into the company and was promoted each year, attaining the top rank of principal in 2018. He has relished taking on meaty characters, particularly the emotional angst found in a famed choreographer's works.

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

Ball's upcoming starring appearance is as himself, in an "Evening With" event designed to offer behind-the-scenes perspectives into a dancer's art. He will walk the crowd through a role, showing his cognitive process during performance. Yet in more comedic works, the challenge is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.

The Psychological Struggle and Post-Performance Feelings

What about following a show, 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 lost in the role, frequently I do feel embarrassed afterwards. Following an intense role I'm always thinking: Wow, what must people think?"

In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer previously observed on a "kind of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."

Early Motivations and Artistic Inspirations

His determination originated in early setbacks. Not excelling in competitions at school made him "vengeful!" It was motivation 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 fanatical," he recalls.

The next challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is interesting, 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 ideas from books, music, and art.

Close-Up Dance and Private Dynamic

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

Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t usually matched on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest cheerleader."

Regarding Instagram and Bodily Image

On social media, followers can see videos from his dance films and images that highlight a athletic form. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be seen on various levels.

Ball describes his early self as "eager for success." Has it met his expectations? "I am conscious of how life is a different thing to the dreams you had as a young person," he muses. He likely has another decade of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."