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In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his limbs muscular beneath a plain white T-shirt. During performances, ballet dancers can appear like mighty gods, yet often offstage they are small. Not so Ball, whose tall stature is part of his popularity for princely characters and pas de deux work. With delicate features and intense eyes, there's a touch of a brooding actor about him.

An Apparent Ascent to the Pinnacle

Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he moved straight into the company and was advanced each year, reaching the highest position of lead dancer in 2018. He has loved taking on meaty characters, especially the emotional angst found in a famed choreographer's ballets.

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

His next starring appearance is as himself, in an "Evening With" event designed to offer intimate insights into a performer's art. He will guide the audience through a role, showing his cognitive process while execution. Yet in lighter ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he states.

The Mental Struggle and Post-Performance Feelings

What about after a performance, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. After Mayerling I'm always like: Wow, what must people think?"

In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Is there? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."

Formative Motivations and Artistic Inspirations

Ball's determination stemmed from youthful experiences. Not doing well in contests at school made him "driven!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.

An upcoming 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 thing any more – I don’t know how far you can go with that." He aims his work to be loaded with substance, drawing ideas from literature, music, and painting.

Close-Up Performance and Personal Partnership

He also is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a previous show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"

Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The level of faith 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 main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."

On Social Media and Physical Perception

On social media, followers can see clips from his projects and images that showcase a sculpted form. Does he mind that the response can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple levels.

Ball characterizes his younger self as "desperate for success." Has it met his expectations? "I feel very aware of how life is a different thing to the aspirations you had as a young person," he muses. He likely has another decade of dancing left. "I guess in the future, I want to be a bit more kind with myself."