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Within the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can seem like mighty gods, yet often offstage they are small. Not so Ball, whose tall stature is part of his demand for princely characters and pas de deux work. Possessing delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.

An Apparent Rise to the Top

Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he encountered minimal teasing for his childhood passion in ballet. Entering the Royal Ballet School at 11, he moved straight into the troupe and was promoted annually, reaching the top rank of principal in 2018. He has relished tackling meaty dramatic roles, especially the psychological angst found in Kenneth MacMillan'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 "In Conversation" series designed to offer behind-the-scenes perspectives into a dancer's art. He will walk the crowd through a part, demonstrating his mental workflow during execution. Even in lighter works, the challenge is significant. "Don Quixote is one of the most demanding technically," he states.

The Psychological Game and Post-Performance Emotions

What about after a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel self-conscious later. After Mayerling I'm always thinking: Wow, what must people think?"

Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a choreographer once remarked on a "sense of suffering in him." Is there? "I am very active in general, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."

Formative Motivations and Creative Influences

His tenacity originated in early experiences. Not doing well in competitions at school made him "vengeful!" This became 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 creating his own dance works. For Ball, "organic movement has value." "Challenging 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 painting.

Intimate Dance and Personal Dynamic

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

Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s biggest cheerleader."

On Social Media and Bodily Image

On social media, followers can see clips from his dance films and photos that highlight a athletic form. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—something that can be interpreted on various ways.

Ball describes his younger self as "desperate for success." Has it lived up to his hopes? "I am conscious of how life is a different reality to the dreams you had as a child," he reflects. He probably has about decade of performing ahead. "I guess in the time to come, I want to be a bit more kind with myself."