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In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs defined beneath a simple white T-shirt. On stage, dancers can seem as powerful deities, yet frequently in person they are petite. This is not true for Ball, whose height is one reason for his popularity for heroic characters and pas de deux work. Possessing fine traits and intense eyes, there's a touch of a brooding actor about him.

An Apparent Rise to the Top

Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was promoted annually, reaching the highest position of lead dancer in 2018. He has relished tackling meaty dramatic roles, especially the psychological angst found in a famed choreographer's ballets.

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

Ball's upcoming featured appearance is as himself, in an "In Conversation" series aiming to offer intimate perspectives into a performer's art. He will walk the audience through a part, showing his cognitive workflow while performance. Even in lighter works, the challenge is significant. "Don Quixote is one of the most demanding technically," he states.

The Mental Struggle and After the Show Emotions

What about following a performance, when he has succeeded? "It's pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get lost in the character, frequently I do feel self-conscious later. After Mayerling I'm always thinking: 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 "kind of suffering in him." Does this exist? "I'm quite active in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."

Formative Drivers and Creative Inspirations

His determination stemmed from early setbacks. Not excelling in contests at school made him "vengeful!" It was fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.

An upcoming challenge is creating his own choreography. In his view, "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 aims his work to be loaded with substance, drawing inspiration from literature, compositions, and art.

Close-Up Performance and Private Dynamic

He additionally favors presenting dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"

Ball has made pieces with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They are not usually 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 notes. "But I feel like we’re each other’s favorite supporter."

On Social Media and Bodily Image

On social media, followers can see videos from his projects and photos that highlight a sculpted form. Does he care that the response can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—something that can be seen on multiple ways.

Ball describes his early self as "eager for success." Has it met his expectations? "I am conscious of how reality is a separate thing to the aspirations you had as a young person," he muses. He likely has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."