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In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his arms defined beneath a plain white T-shirt. During performances, ballet dancers can seem as mighty gods, yet frequently in person they are petite. This is not true for Ball, whose height is part of his demand for princely roles and pas de deux work. With delicate features and piercing eyes, there's a hint of Robert Pattinson about him.

A Seamless Ascent to the Pinnacle

Now 31, Ball is enjoying the peak of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was advanced each year, reaching the highest position of lead dancer in 2018. He has loved taking on meaty dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.

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

Ball's next featured appearance is in a talk, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a performer's art. He will guide the crowd through a role, demonstrating his mental workflow while execution. Yet in more comedic ballets, the test is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.

The Mental Struggle and Post-Performance Feelings

How does he feel following a performance, when he has succeeded? "It's pretty good," he says. "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 later. After an intense role I'm always like: God, what must people think?"

Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I am very active in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."

Formative Motivations and Artistic Inspirations

Ball's determination stemmed from youthful setbacks. Not excelling in competitions at school made him "driven!" It was motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.

An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Breaking the conventions is compelling, but just pretending 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 substance, drawing ideas from books, music, and painting.

Intimate Performance and Private Dynamic

He also is interested in presenting dance in more intimate spaces. "It was just really exciting," he says of a previous show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"

Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."

Regarding Instagram and Bodily Image

On social media, followers can see videos from his dance films and photos that showcase a sculpted physique. 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 precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on multiple levels.

Ball describes 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 aspirations you made as a young person," he reflects. He likely has about ten years of dancing left. "I suppose in the future, I want to be a bit more kind with myself."