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In the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally upright, his arms muscular beneath a plain tee. During performances, ballet dancers can seem as powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose height is part of his demand for princely roles and pas de deux work. Possessing delicate features and intense eyes, there's a hint of a brooding actor about him.

A Seamless Ascent to the Top

At 31, Ball is enjoying the peak of a career that has advanced smoothly. Raised in Liverpool, he faced minimal ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the troupe and was advanced each year, attaining the highest position of lead dancer in 2018. He has relished tackling meaty dramatic roles, particularly the emotional angst found in Kenneth MacMillan's ballets.

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

Ball's upcoming featured role is as himself, in an "Evening With" event aiming to offer intimate perspectives into a performer's art. He will guide the crowd through a role, demonstrating his mental process while execution. Even in more comedic ballets, the test is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.

The Mental Game and Post-Performance Emotions

How does he feel following a show, 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 immersed in the role, quite often I do feel self-conscious afterwards. Following Mayerling I'm always thinking: God, what must people think?"

In person, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer previously remarked on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."

Early Motivations and Artistic Influences

Ball's tenacity originated in youthful setbacks. Not excelling in contests at school made him "vengeful!" It was fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.

The next endeavor is making his own dance works. In his view, "there's nothing wrong with." "Challenging the rules is interesting, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be loaded with meaning, drawing inspiration from literature, compositions, and painting.

Close-Up Performance and Private Dynamic

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

Ball has created duets with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They aren’t 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. "But I feel like we’re each other’s biggest cheerleader."

On Social Media and Physical Perception

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

Ball characterizes his younger self as "eager for success." Has it met his expectations? "I feel very aware of how life is a different reality to the dreams you had as a child," he reflects. He likely has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."