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Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally upright, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can appear as mighty deities, yet often offstage they are small. This is not true for Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. Possessing fine features and intense eyes, there's a touch of a brooding actor about him.

An Apparent Ascent to the Pinnacle

At 31, Ball is experiencing the peak of a career that has progressed smoothly. Raised in Liverpool, he faced little ridicule 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 highest position of principal in 2018. He has relished taking on substantial dramatic roles, particularly the emotional angst found in Kenneth MacMillan's ballets.

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

Ball's next starring appearance is as himself, in an "Evening With" series aiming to offer intimate perspectives into a performer's art. He will walk the crowd through a role, showing his mental process while execution. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.

The Psychological Struggle and After the Show Feelings

What about after a performance, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. Following Mayerling I'm always thinking: God, what must people think?"

In person, Ball is thoughtful, polite, and quick to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."

Formative Drivers and Artistic Influences

Ball's determination stemmed from early experiences. Not excelling in competitions at school made him "vengeful!" This became fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.

The next endeavor is creating his own dance works. For Ball, "there's nothing wrong with." "Breaking the rules 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 aims his work to be filled with meaning, drawing ideas from books, music, and painting.

Close-Up Performance and Private Partnership

He additionally favors staging dance in smaller venues. "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 human, and they’re perspiring.'"

Ball has made pieces with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest supporter."

On Social Media and Physical Perception

On Instagram, fans can see videos from his projects and images that highlight a sculpted form. Does he care that the response can be a bit focused on appearance? 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—an object that can be seen on various levels.

Ball characterizes his early self as "eager for success." Has it met his expectations? "I am conscious of how life is a different thing to the aspirations you had as a young person," he muses. He likely has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."