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In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his arms defined beneath a simple white T-shirt. On stage, dancers can appear as powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is one reason for his demand for heroic roles and pas de deux work. With fine traits and intense eyes, there's a touch of Robert Pattinson about him.

An Apparent Rise to the Top

At 31, Ball is enjoying the crest of a career that has progressed seamlessly. Raised in Liverpool, he encountered little teasing for his childhood interest in ballet. Joining the Royal Ballet School at 11, he graduated directly into the company and was promoted annually, reaching the highest position of principal in 2018. He has relished taking on meaty dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.

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

His next starring role is in a talk, in an "In Conversation" event designed to offer behind-the-scenes insights into a performer's craft. He will walk the crowd through a role, showing his mental process while execution. Even in more comedic works, the test is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.

The Psychological Struggle and Post-Performance Feelings

How does he feel following a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel self-conscious later. Following an intense role I'm always thinking: Wow, what must people think?"

Offstage, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."

Early Motivations and Artistic Inspirations

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

The next challenge is creating his own choreography. For Ball, "there's nothing wrong with." "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 loaded with substance, drawing ideas from literature, compositions, and art.

Close-Up Dance and Private Dynamic

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

Ball has made duets with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."

Regarding Instagram and Physical Perception

On Instagram, followers can see clips from his projects and photos that highlight a athletic form. Does he mind that the response can be a bit 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 seeing Michelangelo’s David—an object that can be seen on multiple ways.

Ball characterizes his early self as "desperate for success." Has it lived up to his expectations? "I feel very aware of how life is a different reality to the dreams you made as a young person," he reflects. He likely has another ten years of dancing left. "I suppose in the future, I want to be a bit more gentle with myself."