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In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms muscular beneath a simple white T-shirt. On stage, dancers can seem as powerful deities, yet frequently in person they are small. Not so Ball, whose tall stature is one reason for his popularity for heroic roles and pas de deux work. With fine traits and intense eyes, there's a touch of Robert Pattinson about him.

An Apparent Ascent to the Top

At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced little ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was advanced each year, reaching the top rank of lead dancer in 2018. He has relished tackling substantial characters, especially the psychological angst found in a famed choreographer's works.

"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."

Ball's next starring role is as himself, in an "Evening With" series aiming to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a part, demonstrating his cognitive process during performance. Yet in more comedic ballets, the challenge is significant. "Don Quixote is one of the toughest technically," he notes.

The Psychological Struggle and After the Show Emotions

How does he feel 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 lost in the character, quite often I do feel embarrassed afterwards. After Mayerling I'm always like: Wow, what must people think?"

In person, 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'm quite energetic in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."

Formative Drivers and Creative Inspirations

His determination originated in youthful experiences. Not doing well in competitions at school made him "vengeful!" It was motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.

An upcoming endeavor is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is interesting, but just acting 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 filled with substance, drawing ideas from literature, music, and art.

Close-Up Dance and Personal Partnership

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 thinking: 'That’s a person, and they’re perspiring.'"

Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."

On Social Media and Bodily Perception

On Instagram, followers can see clips from his dance films and images that highlight a sculpted physique. Does he care 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 protective about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be seen on various levels.

Ball describes his early self as "eager for success." Has it met his hopes? "I am conscious of how reality is a different reality to the dreams you had as a young person," he reflects. He probably has about ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."