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In the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs defined beneath a simple tee. During performances, dancers can seem as powerful gods, yet frequently in person they are small. This is not true for Ball, whose tall stature is one reason for his demand for princely roles and partnering. Possessing delicate traits and intense eyes, there's a touch of Robert Pattinson about him.

A Seamless Rise to the Top

At 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the company and was advanced each year, attaining the highest position of principal in 2018. He has loved tackling substantial characters, particularly the psychological turmoil found in a famed choreographer's ballets.

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

His next starring appearance is in a talk, in an "Evening With" event aiming to offer behind-the-scenes insights into a dancer's craft. He will guide the audience through a part, showing his mental process during performance. Yet in lighter works, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.

The Mental Struggle and Post-Performance Feelings

What about after a show, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get lost in the role, frequently I do feel embarrassed later. After Mayerling I'm always like: Wow, what must people think?"

In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I'm quite energetic in general, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."

Early Drivers and Artistic Influences

His determination stemmed from early experiences. Not excelling in contests at school made him "vengeful!" This became motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.

The next challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the rules 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 aims his work to be loaded with substance, drawing inspiration from books, music, and art.

Intimate Dance and Private Partnership

He additionally is interested in staging 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 realizing: 'That’s a human, and they’re sweating.'"

Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They are not typically paired on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."

Regarding Instagram and Physical Perception

On Instagram, followers can see clips from his projects and photos that showcase a athletic form. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—something that can be interpreted on multiple levels.

Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a different reality to the aspirations you made as a young person," he muses. He probably has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."