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In the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. On stage, ballet dancers can seem as mighty deities, yet frequently in person they are small. Not so Ball, whose tall stature is one reason for his popularity for princely roles and pas de deux work. With fine features and piercing eyes, there's a hint of Robert Pattinson about him.

An Apparent Rise to the Pinnacle

Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal teasing for his early passion in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was advanced annually, attaining the top rank of lead dancer in 2018. He has loved tackling meaty characters, especially the emotional turmoil found in a famed choreographer's works.

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

His next featured appearance is in a talk, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a performer's art. He will guide the crowd through a part, demonstrating his cognitive process during performance. Even in lighter ballets, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.

The Mental Game and After the Show Feelings

How does he feel following a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After Mayerling I'm always thinking: Wow, what must people think?"

In person, Ball is thoughtful, polite, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I am very active usually, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."

Formative Motivations and Artistic Influences

Ball's determination originated in youthful experiences. Not excelling in contests at school made him "vengeful!" This became fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.

An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Breaking the conventions is compelling, 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 meaning, drawing ideas from literature, music, and art.

Close-Up Performance and Personal Dynamic

He additionally favors presenting dance in smaller spaces. "It was just really exciting," he says of a previous show. "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 partner, fellow principal Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They are not typically matched on stage at their home company, which might be healthy. "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."

On Social Media and Bodily Perception

On social media, followers can see clips from his projects and photos that highlight a athletic form. Does he mind that the response can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be interpreted on various levels.

Ball describes his younger self as "eager for success." Did it met his hopes? "I feel very aware of how reality is a separate reality to the dreams you made as a young person," he muses. He probably has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."