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In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can seem as mighty deities, yet frequently in person they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. Possessing fine features and piercing eyes, there's a touch of a brooding actor about him.

A Seamless Rise to the Pinnacle

At 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was promoted annually, attaining the highest position of lead dancer in 2018. He has relished tackling meaty dramatic roles, particularly the emotional turmoil found in a famed choreographer's works.

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

Ball's next starring appearance is as himself, in an "Evening With" event aiming to offer intimate perspectives into a performer's art. He will walk the audience through a part, demonstrating his mental process while execution. Even in more comedic works, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.

The Mental Game and After the Show Emotions

How does he feel after a performance, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, quite often I do feel self-conscious later. After Mayerling I'm always like: Wow, what must people think?"

In person, Ball is reflective, polite, and quick to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Does this exist? "I am very active 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 good change."

Formative Motivations and Creative Influences

His determination originated in youthful setbacks. Not doing well in competitions at school made him "vengeful!" This became motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.

An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Breaking the conventions is interesting, but just acting 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 substance, drawing inspiration from books, compositions, and painting.

Intimate Performance and Private Dynamic

He also is interested in staging dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"

Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s favorite cheerleader."

Regarding Instagram and Physical Perception

On social media, fans can see videos from his dance films and photos that highlight a athletic form. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—an object that can be seen on various levels.

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