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In the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his arms defined beneath a simple tee. During performances, dancers can appear as powerful gods, yet often offstage they are petite. This is not true for Ball, whose height is part of his popularity for heroic roles and pas de deux work. With delicate features and intense eyes, there's a touch of Robert Pattinson about him.

An Apparent Rise to the Top

At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he encountered little ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was promoted annually, reaching the highest position of principal in 2018. He has loved 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 mental fatigue."

Ball's next featured appearance is as himself, in an "Evening With" series designed to offer behind-the-scenes insights into a dancer's art. He will guide the crowd through a role, demonstrating his mental workflow while execution. Even in lighter ballets, the test is profound. "Don Quixote is one of the most demanding technically," he notes.

The Psychological Struggle and After the Show Feelings

How does he feel following 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 role, quite often I do feel embarrassed afterwards. After Mayerling I'm always like: Wow, what must people think?"

Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."

Early Motivations and Artistic Influences

His determination originated in early setbacks. Not excelling in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering 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 challenge is creating his own dance works. In his view, "there's nothing wrong with." "Challenging the rules 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 filled with substance, drawing inspiration from books, compositions, and art.

Close-Up Dance and Personal Partnership

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

Ball has made duets with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest cheerleader."

On Social Media and Physical Perception

On social media, followers can see clips from his dance films and photos that showcase a sculpted form. Does he care that the engagement can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple ways.

Ball describes his younger self as "desperate for success." Did it met his expectations? "I feel very aware of how reality is a separate reality to the aspirations you made as a child," he muses. He probably has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."