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In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is naturally upright, his arms muscular beneath a simple white T-shirt. On stage, dancers can appear as powerful gods, yet frequently in person they are small. This is not true for Ball, whose height is part of his popularity for princely characters and pas de deux work. Possessing delicate features and piercing eyes, there's a hint of Robert Pattinson about him.

A Seamless Ascent to the Top

Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved straight into the company and was promoted annually, attaining the highest position of principal in 2018. He has relished tackling meaty dramatic roles, particularly the emotional angst found in a famed choreographer's ballets.

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

Ball's upcoming starring appearance is as himself, in an "In Conversation" series aiming to offer intimate perspectives into a performer's art. He will walk the audience through a role, demonstrating his cognitive workflow while execution. Even in more comedic ballets, the challenge is profound. "Don Quixote is one of the most demanding from a skill perspective," he notes.

The Mental Game and Post-Performance Emotions

How does he feel following a show, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, frequently I do feel self-conscious later. Following Mayerling I'm always thinking: Wow, what must people think?"

In person, Ball is thoughtful, polite, and quick to laugh at himself. Yet a dance maker previously remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a dark side," 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

His determination stemmed from early experiences. Not excelling in contests at school made him "driven!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.

An upcoming challenge is creating his own choreography. For Ball, "organic movement has value." "Breaking the rules is interesting, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be loaded with meaning, drawing inspiration from literature, compositions, and art.

Intimate Performance and Private Partnership

He also favors staging dance in smaller spaces. "It was just really exciting," 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 perspiring.'"

Ball has created duets with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their main theater, which is perhaps healthy. "We’re both quite determined 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 Image

On social media, fans can see clips from his projects and photos that showcase a sculpted form. Does he care 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 states. He compares it to seeing Michelangelo’s David—something that can be seen on multiple ways.

Ball describes his younger self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how reality is a different thing to the dreams you made as a child," he muses. He likely has about ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."