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Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his arms defined beneath a simple tee. On stage, ballet dancers can appear as mighty gods, yet frequently offstage they are small. Not so Ball, whose height is one reason for his demand for heroic characters and partnering. With fine features and piercing eyes, there's a hint of a brooding actor about him.

A Seamless Rise to the Pinnacle

Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal teasing for his childhood interest in ballet. Joining the Royal Ballet School at 11, he graduated directly into the troupe and was promoted annually, reaching the highest position of lead dancer in 2018. He has loved tackling meaty dramatic roles, especially the emotional angst found in Kenneth MacMillan's ballets.

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

Ball's upcoming starring role is as himself, in an "Evening With" event designed to offer intimate perspectives into a dancer's craft. He will guide the crowd through a role, showing his cognitive process during execution. Even in lighter ballets, the test is profound. "Don Quixote is one of the toughest from a skill perspective," he states.

The Mental Struggle 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 extract all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious later. After Mayerling I'm always thinking: Wow, what must people think?"

Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Does this exist? "I am very 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 positive change."

Formative Motivations and Creative Inspirations

His determination stemmed from youthful setbacks. Not excelling in contests at school made him "driven!" This became motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.

An upcoming challenge is making his own dance works. In his view, "there's nothing wrong with." "Breaking the rules is compelling, 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 loaded with meaning, drawing inspiration from books, music, and art.

Intimate Dance and Personal Dynamic

He additionally is interested in staging dance in more intimate spaces. "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 made duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not typically matched on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest cheerleader."

Regarding Instagram and Bodily Image

On social media, fans can see videos from his projects and photos that highlight a sculpted physique. Does he mind that the engagement can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on multiple ways.

Ball describes his younger self as "eager for success." Did it lived up to his expectations? "I feel very aware of how reality is a separate reality to the aspirations you had as a young person," he reflects. He likely has about decade of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."