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In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. On stage, ballet dancers can appear like powerful gods, yet frequently offstage they are small. This is not true for Ball, whose height is part of his demand for heroic characters and partnering. With delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.

A Seamless Ascent to the Top

At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he faced little teasing for his early passion in ballet. Joining the Royal Ballet School at 11, he moved directly into the troupe and was advanced each year, attaining the highest position of principal in 2018. He has loved tackling substantial characters, especially the psychological angst found in Kenneth MacMillan's works.

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

Ball's upcoming featured role is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's craft. He will guide the audience through a role, demonstrating his mental process while performance. Yet in more comedic ballets, the test is significant. "Don Quixote is one of the toughest from a skill perspective," he states.

The Psychological Struggle and After the Show Emotions

How does he feel after a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed afterwards. After an intense role I'm always thinking: Wow, what must people think?"

In person, Ball is thoughtful, polite, and quick to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Is there? "I am very active usually, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."

Early Motivations and Artistic Inspirations

Ball's determination stemmed from early experiences. Not excelling in contests at school made him "vengeful!" It was 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 obsessive," he recalls.

An upcoming challenge is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is compelling, but just acting 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 filled with meaning, drawing inspiration from books, compositions, and art.

Close-Up Performance and Private Dynamic

He additionally is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"

Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They are not typically matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed 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 Physical Image

On social media, fans can see clips from his dance films and photos that showcase a sculpted form. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on various levels.

Ball characterizes his early self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how reality is a separate reality to the dreams you made as a child," he muses. He probably has about ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."