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In the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his limbs muscular beneath a simple tee. On stage, dancers can seem like mighty gods, yet frequently in person they are petite. Not so Ball, whose tall stature is one reason for his demand for princely characters and partnering. Possessing delicate traits and intense eyes, there's a hint of Robert Pattinson about him.

A Seamless Rise to the Pinnacle

At 31, Ball is enjoying the peak of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the company and was advanced annually, attaining the highest position of principal in 2018. He has loved taking on meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan'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 aiming to offer behind-the-scenes perspectives into a performer's craft. He will guide the crowd through a part, demonstrating his mental workflow while performance. Even in more comedic works, the test is significant. "A classic ballet is one of the toughest from a skill perspective," he states.

The Mental Game and Post-Performance Emotions

How does he feel after a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the character, frequently I do feel self-conscious later. Following an intense role I'm always thinking: Wow, what must people think?"

Offstage, Ball is reflective, polite, and prone to laugh at himself. But a choreographer once observed on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."

Formative Motivations and Creative Inspirations

Ball's tenacity stemmed from youthful experiences. Not excelling in contests at school made him "driven!" It was motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.

The next challenge is making his own dance works. In his view, "organic movement has value." "Breaking 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 aims his work to be loaded with meaning, drawing ideas from books, compositions, and painting.

Intimate Dance and Private Partnership

He additionally favors staging dance in smaller venues. "It was just really exciting," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"

Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically matched on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."

Regarding Instagram and Physical Perception

On social media, fans can see videos from his dance films and images that highlight a sculpted form. Does he mind that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be seen on various levels.

Ball describes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how reality is a separate reality to the aspirations you had as a young person," he muses. He probably has about ten years of dancing ahead. "I suppose in the future, I want to be a bit more kind with myself."