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Within the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his limbs defined beneath a simple tee. During performances, ballet dancers can seem like powerful deities, yet frequently in person they are small. Not so Ball, whose height is one reason for his demand for heroic roles and pas de deux work. With fine features and intense eyes, there's a touch of Robert Pattinson about him.

An Apparent Rise to the Top

Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was promoted each year, reaching the highest position of lead dancer in 2018. He has relished taking on meaty characters, particularly 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 starring role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will guide the audience through a part, demonstrating his mental process during execution. Even in more comedic ballets, the test is significant. "Don Quixote is one of the most demanding technically," he states.

The Psychological Struggle and After the Show Emotions

What about after a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get immersed in the character, quite often I do feel self-conscious later. Following Mayerling I'm always like: God, what must people think?"

In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."

Early Drivers and Artistic Inspirations

Ball's tenacity originated in youthful experiences. Not excelling in contests at school made him "vengeful!" It was fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.

The next challenge is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the rules 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 aims his work to be loaded with substance, drawing ideas from literature, music, and art.

Intimate Dance and Personal Partnership

He additionally favors presenting dance in more intimate venues. "It was just really exciting," he says of a past experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"

Ball has created duets with his partner, fellow principal Mayara Magri. The level 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 typically paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."

Regarding Instagram and Bodily Image

On Instagram, followers can see videos from his projects and images that highlight a sculpted 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 compares it to seeing Michelangelo’s David—something that can be interpreted on various ways.

Ball describes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how reality is a separate reality to the aspirations you had as a child," he muses. He probably has about decade of performing left. "I suppose in the future, I want to be a bit more kind with myself."