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Within the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is naturally straight-backed, his limbs muscular beneath a plain tee. During performances, ballet dancers can appear as mighty deities, yet frequently offstage they are petite. Not so Ball, whose height is one reason for his demand for princely characters and partnering. Possessing delicate traits and intense eyes, there's a hint of a brooding actor about him.

A Seamless Rise to the Pinnacle

Now 31, Ball is enjoying the peak of a career that has progressed smoothly. Raised in Liverpool, he faced little teasing for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted annually, reaching the top rank of lead dancer in 2018. He has relished tackling substantial characters, particularly the psychological turmoil found in a famed choreographer's works.

"Your breath is short, your legs get heavy, but it’s really a neural fatigue."

His next featured role is as himself, in an "Evening With" event designed to offer intimate insights into a performer's art. He will guide the audience through a role, demonstrating his cognitive process during performance. Even in lighter works, the challenge is significant. "A classic ballet is one of the most demanding technically," he notes.

The Mental Struggle and Post-Performance Emotions

What about following a performance, when he has pulled it off? "It feels pretty good," he admits. "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 an intense role I'm always thinking: Wow, what must people think?"

In person, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker once observed on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."

Formative Drivers and Creative Inspirations

His tenacity stemmed from youthful setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.

The next endeavor is making his own choreography. In his view, "organic movement has value." "Breaking the conventions is compelling, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be filled with meaning, drawing ideas from books, music, and painting.

Close-Up Performance and Personal Dynamic

He additionally favors staging dance in smaller 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 thinking: 'That’s a human, and they’re sweating.'"

Ball has created duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest cheerleader."

On Social Media and Physical Image

On Instagram, followers can see videos from his dance films and images that highlight a athletic form. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on multiple levels.

Ball characterizes his younger self as "desperate for success." Did it met his expectations? "I feel very aware of how life is a separate thing to the dreams you had as a young person," he reflects. He likely has about decade of dancing left. "I guess in the time to come, I want to be a bit more gentle with myself."