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In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his arms muscular beneath a plain tee. During performances, ballet dancers can seem as powerful gods, yet frequently in person they are petite. Not so Ball, whose height is one reason for his demand for heroic roles and partnering. With delicate features and piercing eyes, there's a hint of a brooding actor about him.

A Seamless Ascent to the Pinnacle

Now 31, Ball is enjoying the peak of a career that has advanced smoothly. Raised in Liverpool, he faced little ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted each year, attaining the top rank of principal in 2018. He has relished tackling substantial characters, particularly the psychological turmoil found in a famed choreographer's works.

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

Ball's next starring role is as himself, in an "Evening With" series designed to offer behind-the-scenes perspectives into a dancer's art. He will walk the crowd through a role, demonstrating his cognitive process while performance. Even in lighter works, the test is significant. "A classic ballet is one of the toughest technically," he states.

The Psychological Struggle and Post-Performance Feelings

How does he feel following a show, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"

Offstage, Ball is thoughtful, polite, and prone to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Is there? "I am very active usually, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."

Early Motivations and Creative Influences

His tenacity originated in early experiences. Not excelling in contests at school made him "driven!" This became motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.

The next endeavor is creating his own choreography. For Ball, "organic movement has value." "Breaking 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 filled with substance, drawing inspiration from literature, music, and painting.

Close-Up Performance and Personal Partnership

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

Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically matched on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite cheerleader."

Regarding Instagram and Bodily Image

On Instagram, followers can see videos from his dance films and photos that showcase a sculpted form. Does he mind that the engagement can be a bit focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—something that can be interpreted on multiple levels.

Ball characterizes his early self as "eager for success." Did it lived up to his hopes? "I am conscious of how reality is a separate thing to the aspirations you made as a young person," he muses. He probably has another decade of dancing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."