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In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. On stage, dancers can appear as powerful gods, yet frequently offstage they are small. Not so Ball, whose tall stature is part of his popularity for heroic roles and pas de deux work. Possessing delicate features and intense eyes, there's a hint of a brooding actor about him.

An Apparent Rise to the Top

Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered minimal ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted annually, attaining the top rank of principal in 2018. He has relished taking on meaty dramatic roles, especially the psychological angst found in a famed choreographer's ballets.

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

His upcoming starring appearance is in a talk, in an "Evening With" series designed to offer behind-the-scenes insights into a performer's art. He will guide the audience through a part, demonstrating his cognitive workflow during execution. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he notes.

The Psychological Game and After the Show Feelings

How does he feel following a performance, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel self-conscious afterwards. Following an intense role I'm always thinking: 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 "kind of suffering in him." Is there? "I'm quite active usually, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."

Early Drivers and Creative Inspirations

His tenacity originated in early experiences. Not excelling in contests at school made him "vengeful!" It was fuel 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 fanatical," he recalls.

The next endeavor is creating his own dance works. For Ball, "there's nothing wrong with." "Challenging the conventions 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 wants his work to be loaded with substance, drawing ideas from literature, music, and painting.

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 show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"

Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like 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 admits. "But I feel like we’re each other’s biggest supporter."

On Social Media and Bodily Image

On social media, followers can see clips from his projects and photos that showcase a sculpted form. Does he mind that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—something that can be interpreted on multiple levels.

Ball characterizes his early self as "desperate for success." Did it met his hopes? "I feel very aware of how life is a separate reality to the aspirations you had as a young person," he muses. He probably has about decade of dancing ahead. "I guess in the future, I want to be a bit more kind with myself."