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In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his arms muscular beneath a simple white T-shirt. On stage, ballet dancers can appear as powerful deities, yet frequently offstage they are petite. Not so Ball, whose height is one reason for his popularity for heroic characters and pas de deux work. With delicate features and intense eyes, there's a touch of a brooding actor about him.

A Seamless Ascent to the Pinnacle

Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced little teasing for his early passion in ballet. Joining the Royal Ballet School at 11, he graduated directly into the troupe and was advanced annually, attaining the highest position of lead dancer in 2018. He has loved tackling meaty characters, 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."

Ball's next starring role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a dancer's art. He will walk the crowd through a role, showing his cognitive process during execution. Yet in lighter works, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he states.

The Mental Game and After the Show Feelings

How does he feel after a show, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get lost in the role, quite often I do feel embarrassed afterwards. Following an intense role I'm always thinking: Wow, what must people think?"

In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."

Formative Motivations and Creative Influences

Ball's tenacity stemmed from early setbacks. Not doing well in contests at school made him "driven!" This became fuel to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.

An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Breaking the conventions is interesting, but just acting 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 inspiration from literature, compositions, and painting.

Intimate Performance and Personal Dynamic

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

Ball has made pieces with his partner, fellow principal 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." They are not typically paired on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest supporter."

Regarding Instagram and Physical Image

On social media, fans can see clips from his projects and photos that highlight a sculpted form. Does he care that the response can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—something that can be seen on multiple levels.

Ball describes his early self as "eager for success." Has it lived up to his hopes? "I feel very aware of how reality is a separate thing to the aspirations you made as a child," he reflects. He probably has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."