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In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally straight-backed, his limbs defined beneath a simple tee. On stage, dancers can appear like mighty deities, yet often offstage they are petite. This is not true for Ball, whose height is one reason for his popularity for heroic roles and pas de deux work. Possessing fine features and intense eyes, there's a touch of a brooding actor about him.

An Apparent Rise to the Pinnacle

Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted each year, reaching the top rank of principal in 2018. He has relished tackling meaty characters, particularly the psychological turmoil found in Kenneth MacMillan's works.

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

Ball's upcoming starring appearance is in a talk, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will walk the audience through a role, demonstrating his mental process during execution. Even in lighter works, the test is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.

The Mental Game and After the Show Feelings

How does he feel after a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. After an intense role I'm always like: God, what must people think?"

In person, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker previously observed on a "kind of suffering in him." Does this exist? "I'm quite active usually, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."

Formative Motivations and Artistic Inspirations

His tenacity stemmed from early experiences. Not excelling in contests at school made him "driven!" It was motivation to prove 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 remembers.

An upcoming endeavor is creating his own choreography. In his view, "there's nothing wrong with." "Challenging the conventions is compelling, but just acting 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 meaning, drawing ideas from literature, compositions, and art.

Close-Up Performance and Personal Partnership

He additionally favors staging dance in smaller spaces. "It was just really exciting," he says of a past show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"

Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of trust 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 main theater, 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 biggest cheerleader."

Regarding Instagram and Physical Image

On Instagram, fans can see clips from his projects and photos that highlight a athletic form. Does he mind that the engagement can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—something that can be interpreted on various ways.

Ball characterizes his younger self as "desperate for success." Has it met his expectations? "I feel very aware of how reality is a separate reality to the aspirations you had as a young person," he reflects. He probably has another ten years of dancing left. "I suppose in the future, I want to be a bit more gentle with myself."