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In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his limbs defined beneath a simple tee. On stage, ballet dancers can seem like mighty gods, yet frequently in person they are small. This is not true for Ball, whose tall stature is one reason for his demand for heroic characters and partnering. With fine features and piercing eyes, there's a hint of Robert Pattinson about him.

A Seamless Rise to the Top

Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved straight into the troupe and was promoted each year, reaching the top rank of lead dancer in 2018. He has relished tackling substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's ballets.

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

His next starring role is as himself, in an "In Conversation" series designed to offer behind-the-scenes insights into a dancer's craft. He will walk the crowd through a part, demonstrating his cognitive workflow during execution. Yet in lighter ballets, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.

The Psychological Game and Post-Performance Emotions

How does he feel after a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel self-conscious later. After an intense role I'm always like: God, what must people think?"

In person, Ball is thoughtful, polite, and quick to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I'm quite active in general, 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 positive change."

Formative Drivers and Creative Influences

His determination stemmed from youthful experiences. Not excelling in competitions at school made him "vengeful!" It was motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.

The next challenge is making 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 loaded with substance, drawing inspiration from literature, music, and art.

Intimate Performance and Personal Partnership

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 audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"

Ball has made duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t usually paired on stage at their main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest cheerleader."

Regarding Instagram and Bodily Perception

On social media, fans can see videos from his projects and images that highlight a athletic form. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple levels.

Ball describes his early self as "eager for success." Did it lived up to his hopes? "I feel very aware of how life is a separate thing to the aspirations you had as a young person," he muses. He likely has about decade of performing left. "I suppose in the future, I want to be a bit more gentle with myself."