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Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his arms muscular beneath a plain white T-shirt. On stage, ballet dancers can seem as powerful 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 pas de deux work. With delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.

An Apparent Ascent to the Pinnacle

Now 31, Ball is enjoying the peak of a career that has advanced seamlessly. Raised in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was advanced annually, reaching the top rank of lead dancer in 2018. He has relished taking on substantial dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's works.

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

His upcoming starring role is in a talk, in an "Evening With" event designed to offer behind-the-scenes insights into a dancer's craft. He will guide the crowd through a part, demonstrating his cognitive process during execution. Yet in lighter ballets, the test is significant. "A classic ballet is one of the most demanding technically," he notes.

The Mental Struggle and After the Show Feelings

What about after a performance, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel self-conscious later. Following Mayerling I'm always thinking: Wow, what must people think?"

In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet 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 confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."

Formative Motivations and Creative Inspirations

Ball's determination originated in early setbacks. Not doing well in contests at school made him "vengeful!" This became fuel to demonstrate 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 remembers.

The next challenge is creating his own dance works. For Ball, "organic movement has value." "Breaking the rules 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 loaded with substance, drawing inspiration from literature, music, and art.

Intimate Performance and Personal Partnership

He also favors presenting dance in more intimate venues. "It was just really thrilling," 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 perspiring.'"

Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They are not typically paired on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."

Regarding Instagram and Bodily Perception

On social media, fans can see videos from his projects and photos that showcase a sculpted form. Does he care that the response can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on various ways.

Ball describes his early self as "desperate for success." Has it lived up to his hopes? "I am conscious of how reality is a separate reality to the dreams you made as a young person," he reflects. He likely has another ten years of performing left. "I guess in the future, I want to be a bit more kind with myself."