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In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his arms muscular beneath a plain white T-shirt. On stage, ballet dancers can appear as powerful gods, yet often in person they are small. Not so Ball, whose tall stature is part of his demand for princely characters and partnering. Possessing delicate features and piercing eyes, there's a touch of Robert Pattinson about him.

An Apparent Rise to the Pinnacle

At 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little teasing for his early interest in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was advanced annually, attaining the highest position of principal in 2018. He has loved taking on substantial 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 next starring appearance is as himself, in an "In Conversation" series designed to offer intimate perspectives into a dancer's craft. He will guide the audience through a role, showing his cognitive workflow while performance. Yet in more comedic works, the test is profound. "Don Quixote is one of the toughest from a skill perspective," he states.

The Psychological Game and Post-Performance Feelings

How does he feel following a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel embarrassed later. Following an intense role I'm always like: God, what must people think?"

In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer once observed on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."

Early Drivers and Creative Influences

His determination originated in early setbacks. Not excelling in competitions at school made him "driven!" It was fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.

An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging the conventions is compelling, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be loaded with meaning, drawing ideas from literature, music, and painting.

Close-Up Dance and Personal Partnership

He also favors presenting 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 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 resembled Dirty Dancing." They aren’t typically matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed 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 Image

On Instagram, followers can see videos from his dance films and images that highlight a sculpted form. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on multiple ways.

Ball describes his early self as "desperate for success." Has it met his hopes? "I feel very aware of how reality is a different reality to the dreams you had as a child," he muses. He likely has another ten years of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."