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Within the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his limbs muscular beneath a plain white T-shirt. During performances, dancers can appear as mighty gods, yet often in person they are petite. Not so Ball, whose tall stature is one reason for his demand for princely characters and partnering. With fine features and piercing eyes, there's a hint of a brooding actor 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 faced minimal ridicule for his childhood passion in ballet. Joining the Royal Ballet School at 11, he graduated directly into the troupe and was promoted each year, attaining the highest position of principal in 2018. He has relished tackling substantial dramatic roles, particularly the emotional angst found in a famed choreographer's works.

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

Ball's upcoming featured appearance is in a talk, in an "Evening With" series aiming to offer intimate perspectives into a performer's craft. He will walk the audience through a part, demonstrating his cognitive process while execution. Even in lighter ballets, the challenge is profound. "Don Quixote is one of the toughest technically," he notes.

The Psychological Struggle and Post-Performance Feelings

What about following a performance, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed later. Following Mayerling I'm always thinking: Wow, what must people think?"

In person, Ball is thoughtful, polite, and prone to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."

Formative Drivers and Artistic Inspirations

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

An upcoming endeavor is making his own choreography. In his view, "organic movement has value." "Challenging the conventions is compelling, 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 filled with substance, drawing ideas from books, compositions, and art.

Intimate Performance and Personal Dynamic

He additionally is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"

Ball has created 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 daring lift. "It resembled Dirty Dancing." The couple aren’t usually matched on stage at their main theater, which might be healthy. "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 supporter."

On Social Media and Bodily Perception

On Instagram, followers can see clips from his projects and photos that showcase a sculpted physique. Does he care that the engagement can be somewhat focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be seen on various ways.

Ball characterizes his early self as "eager for success." Has it met his hopes? "I feel very aware of how life is a different reality to the dreams you had as a child," he reflects. He likely has about ten years of performing left. "I guess in the future, I want to be a bit more kind with myself."