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In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is naturally upright, his arms muscular beneath a plain white T-shirt. During performances, dancers can appear as mighty deities, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is part of his demand for princely characters and partnering. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.

An Apparent Rise to the Pinnacle

Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he faced little ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the troupe and was promoted each year, reaching the top rank of principal in 2018. He has loved taking on substantial characters, particularly the psychological angst found in Kenneth MacMillan's works.

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

His upcoming featured role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will guide the crowd through a part, showing his mental process during execution. Yet in more comedic works, the test is profound. "A classic ballet is one of the most demanding technically," he notes.

The Psychological Struggle and After the Show Feelings

How does he feel following a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, quite often I do feel self-conscious later. After an intense role I'm always thinking: God, what must people think?"

Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously observed 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 somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."

Formative Drivers and Artistic Influences

His determination stemmed from early experiences. Not doing well in competitions at school made him "driven!" This became motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.

An upcoming challenge is creating his own choreography. For Ball, "there's nothing wrong with." "Challenging 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 wants his work to be loaded with meaning, drawing ideas from literature, compositions, and art.

Close-Up Dance and Private Partnership

He also is interested in staging dance in more intimate spaces. "It was just really exciting," he says of a previous experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"

Ball has created duets with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically matched on stage at their home company, which might be healthy. "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 favorite cheerleader."

Regarding Instagram and Bodily Perception

On Instagram, fans can see videos from his projects and images that showcase a sculpted form. Does he mind that the engagement 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 compares it to seeing Michelangelo’s David—something that can be interpreted on various ways.

Ball describes his early self as "desperate for success." Did it met his expectations? "I am conscious of how reality is a separate reality to the aspirations you made as a young person," he muses. He likely has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."