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In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his limbs defined beneath a simple tee. On stage, dancers can appear like mighty deities, yet frequently offstage they are small. This is not true for Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. With fine traits and piercing eyes, there's a hint of a brooding actor about him.

A Seamless Rise to the Pinnacle

Now 31, Ball is enjoying the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was promoted each year, attaining the highest position of lead dancer in 2018. He has relished tackling 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 next starring appearance is in a talk, in an "In Conversation" event designed to offer intimate insights into a dancer's art. He will walk the audience through a role, demonstrating his mental workflow during execution. Even in lighter ballets, the test is significant. "A classic ballet is one of the most demanding technically," he notes.

The Psychological Game and After the Show Feelings

What about following a performance, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get lost in the role, frequently I do feel self-conscious later. After an intense role I'm always thinking: God, what must people think?"

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

Early Drivers and Creative Inspirations

His tenacity originated in youthful experiences. Not excelling in contests at school made him "vengeful!" This became fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.

The next challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is interesting, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be filled with meaning, drawing inspiration from books, music, and art.

Intimate Dance and Personal Partnership

He also favors presenting dance in more intimate spaces. "It was just really exciting," he says of a past experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"

Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The level 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 are not typically matched on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite cheerleader."

Regarding Instagram and Physical Perception

On Instagram, followers can see videos from his dance films and images 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 use, 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 various ways.

Ball characterizes his early self as "eager for success." Did it met his expectations? "I am conscious of how reality is a different thing to the aspirations you had as a young person," he muses. He likely has about decade of performing left. "I guess in the future, I want to be a bit more gentle with myself."