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In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a simple white T-shirt. During performances, dancers can appear like mighty deities, yet frequently in person they are small. Not so Ball, whose tall stature is part of his demand for princely roles and pas de deux work. Possessing delicate features and intense eyes, there's a touch of Robert Pattinson about him.

A Seamless Rise to the Pinnacle

At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted each year, reaching the top rank of lead dancer in 2018. He has relished tackling meaty characters, particularly the psychological angst found in Kenneth MacMillan's ballets.

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

Ball's upcoming starring appearance is in a talk, in an "Evening With" series aiming to offer behind-the-scenes perspectives into a dancer's art. He will guide the audience through a part, demonstrating his mental process while performance. Yet in lighter ballets, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he states.

The Mental Struggle and After the Show Feelings

What about after a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After Mayerling I'm always like: God, what must people think?"

In person, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."

Early Drivers and Artistic Influences

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

An upcoming challenge is making his own choreography. In his view, "organic movement has value." "Challenging the rules is interesting, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be loaded with substance, drawing ideas from books, music, and painting.

Intimate Performance and Personal Dynamic

He also favors presenting dance in more intimate spaces. "It was just really thrilling," he says of a previous show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"

Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite supporter."

Regarding Instagram and Bodily Perception

On social media, fans can see videos from his dance films and photos that showcase a sculpted form. Does he care that the response can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—something that can be seen on various levels.

Ball characterizes his early self as "eager for success." Has it met his hopes? "I feel very aware of how life is a different reality to the aspirations you made as a young person," he reflects. 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."