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Within the hushed ambiance 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 tee. During performances, ballet dancers can seem like mighty deities, yet frequently offstage they are small. This is not true for Ball, whose height is one reason for his popularity for heroic characters and partnering. With delicate traits and piercing eyes, there's a touch of a brooding actor about him.

A Seamless Ascent to the Pinnacle

At 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered little ridicule for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the company and was promoted annually, reaching the highest position of principal in 2018. He has relished taking on substantial dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's ballets.

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

Ball's next starring role is in a talk, in an "Evening With" series aiming to offer intimate insights into a dancer's craft. He will guide the crowd through a role, demonstrating his mental process during execution. Yet in more comedic ballets, the challenge is profound. "Don Quixote is one of the toughest from a skill perspective," he notes.

The Psychological Game and After the Show Feelings

How does he feel after a show, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel self-conscious later. After Mayerling I'm always like: God, what must people think?"

In person, Ball is thoughtful, polite, and prone to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."

Formative Drivers and Artistic Influences

Ball's tenacity originated in early experiences. Not excelling in competitions at school made him "driven!" This became motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.

The next challenge is making his own dance works. 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 wants his work to be filled with meaning, drawing ideas from books, compositions, and art.

Intimate Performance and Personal Dynamic

He also favors presenting dance in more intimate 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 sweating.'"

Ball has made duets with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t typically paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite supporter."

Regarding Instagram and Physical Perception

On social media, fans can see clips from his dance films and photos that highlight a athletic form. Does he care that the response can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be seen on various ways.

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