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Within the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a simple white T-shirt. During performances, ballet dancers can appear as mighty gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is one reason for his demand for princely roles and partnering. Possessing fine traits and intense eyes, there's a hint of a brooding actor about him.

An Apparent Rise to the Top

Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced little teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has relished taking on substantial dramatic roles, particularly the psychological angst found in Kenneth MacMillan's works.

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

His upcoming featured appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will guide the crowd through a role, showing his cognitive process while execution. Yet in lighter works, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.

The Mental Game and After the Show Feelings

What about following a performance, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel self-conscious afterwards. Following Mayerling I'm always thinking: Wow, what must people think?"

In person, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Is there? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."

Early Drivers and Artistic Influences

His determination originated in early setbacks. Not doing well in contests at school made him "driven!" It was fuel 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 remembers.

An upcoming endeavor is making his own dance works. For Ball, "there's nothing wrong with." "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 wants his work to be loaded with substance, drawing ideas from books, music, and art.

Close-Up Performance and Private Partnership

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

Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They aren’t typically matched on stage at their home company, which might be beneficial. "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 cheerleader."

On Social Media and Physical Image

On Instagram, followers can see clips from his projects and images that highlight a athletic form. Does he mind 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 protective about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be seen on multiple levels.

Ball characterizes his early self as "desperate for success." Has it lived up to his hopes? "I am conscious of how life is a separate thing to the aspirations you made as a child," he muses. He probably has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."