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In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms defined beneath a plain white T-shirt. During performances, ballet dancers can appear as mighty gods, yet often offstage they are petite. This is not true for Ball, whose height is part of his demand for heroic roles and pas de deux work. Possessing fine features and intense eyes, there's a touch of Robert Pattinson about him.

An Apparent Rise to the Pinnacle

At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was advanced each year, reaching the top rank of lead dancer in 2018. He has relished taking on meaty characters, 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" event aiming to offer intimate insights into a dancer's craft. He will walk the crowd through a role, demonstrating his mental workflow while performance. 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 Feelings

What about after a show, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the character, quite often I do feel self-conscious later. Following Mayerling I'm always thinking: God, what must people think?"

Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer once remarked on a "sense of suffering in him." Does this exist? "I am very active in general, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."

Early Motivations and Creative Influences

Ball's tenacity originated in youthful experiences. Not excelling in competitions at school made him "driven!" This became fuel 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 obsessive," he recalls.

The next endeavor is creating his own choreography. For Ball, "organic movement has value." "Breaking 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 wants his work to be loaded with substance, drawing ideas from books, compositions, and art.

Close-Up Performance and Personal Dynamic

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

Ball has made duets with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple are not usually paired on stage at their main theater, which is perhaps beneficial. "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 cheerleader."

On Social Media and Bodily Perception

On social media, followers can see clips from his projects and photos that highlight a athletic form. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—an object that can be seen on various ways.

Ball characterizes his younger self as "eager for success." Has it met his expectations? "I am conscious of how life is a separate reality to the aspirations you made as a child," he reflects. He probably has another decade of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."