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Within the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a plain tee. On stage, dancers can seem like powerful deities, yet frequently in person they are petite. 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.

A Seamless Ascent to the Pinnacle

At 31, Ball is enjoying the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced little ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was promoted annually, reaching the top rank of principal in 2018. He has loved taking on meaty characters, particularly the psychological angst found in Kenneth MacMillan's works.

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

His upcoming featured appearance is as himself, in an "In Conversation" series aiming to offer intimate perspectives into a dancer's art. He will walk the audience through a role, demonstrating his cognitive workflow while execution. Yet in lighter ballets, the test is profound. "A classic ballet is one of the toughest technically," he states.

The Psychological Game and Post-Performance Feelings

How does he feel following a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, frequently I do feel self-conscious later. After an intense role I'm always thinking: Wow, what must people think?"

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

Formative Drivers and Artistic Influences

Ball's determination stemmed from early setbacks. Not doing well in competitions at school made him "vengeful!" This became motivation to demonstrate he could succeed. Reading 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 creating his own choreography. For Ball, "organic movement has value." "Breaking the conventions is compelling, but just pretending 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 inspiration from books, compositions, and art.

Intimate Dance and Private Dynamic

He additionally is interested in staging dance in more intimate spaces. "It was just really thrilling," he says of a previous experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"

Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually matched on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest supporter."

Regarding Instagram and Bodily Perception

On Instagram, followers can see videos from his dance films and images that highlight a athletic form. Does he mind that the engagement can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He relates it to viewing Michelangelo’s David—an object that can be seen on various levels.

Ball describes his early self as "eager for success." Has it met his hopes? "I am conscious of how life is a different reality to the dreams you made as a young person," he reflects. He likely has another ten years of dancing ahead. "I guess in the time to come, I want to be a bit more kind with myself."