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In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a plain white T-shirt. During performances, ballet dancers can seem as mighty gods, yet often offstage they are small. This is not true for Ball, whose tall stature is one reason for his demand for heroic roles and pas de deux work. Possessing delicate features and piercing eyes, there's a touch of a brooding actor about him.

A Seamless Ascent to the Pinnacle

Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Growing up in Liverpool, he faced little ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was advanced each year, reaching the highest position of principal in 2018. He has loved tackling substantial 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."

His upcoming featured appearance is as himself, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will guide the audience through a part, demonstrating his cognitive workflow during performance. Even in lighter works, the challenge is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.

The Psychological Game and After the Show Emotions

How does he feel following a performance, when he has succeeded? "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, 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 dance maker previously observed on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."

Early Motivations and Artistic Influences

Ball's tenacity stemmed from early experiences. Not doing well in contests at school made him "driven!" It was motivation to demonstrate he could achieve. Discovering 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 endeavor is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions 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 filled with meaning, drawing inspiration from literature, music, and painting.

Intimate Dance and Private Dynamic

He also is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a previous experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, 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 aren’t usually paired on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."

On Social Media and Bodily Image

On social media, fans can see clips from his dance films and images that highlight a athletic form. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.

Ball characterizes his early self as "eager for success." Has it met his hopes? "I am conscious of how reality is a different thing to the aspirations you made as a child," he reflects. 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."