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In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his arms defined beneath a plain white T-shirt. During performances, ballet dancers can appear as powerful deities, yet often in person they are small. Not so Ball, whose tall stature is one reason for his demand for princely roles and partnering. Possessing fine traits and intense 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. Raised in Liverpool, he encountered minimal teasing 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 principal in 2018. He has loved taking on substantial characters, particularly the psychological 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 upcoming starring appearance is as himself, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will guide the audience through a role, showing his mental process during execution. Even in lighter ballets, the test is profound. "Don Quixote is one of the toughest technically," he notes.

The Mental Struggle and After the Show Emotions

How does he feel following a performance, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get lost in the character, frequently I do feel embarrassed afterwards. Following Mayerling I'm always like: God, what must people think?"

In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."

Early Motivations and Artistic Inspirations

Ball's determination stemmed from youthful experiences. Not excelling in contests at school made him "vengeful!" This became motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.

An upcoming challenge is making his own choreography. In his view, "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 aims his work to be loaded with meaning, drawing inspiration from literature, music, and art.

Close-Up Performance and Private Dynamic

He additionally favors staging dance in smaller venues. "It was just really thrilling," he says of a previous experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"

Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t typically matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite supporter."

Regarding Instagram and Physical Perception

On social media, followers can see clips from his projects and photos that showcase a sculpted physique. Does he care that the response can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple levels.

Ball describes his early self as "eager for success." Did it met his expectations? "I feel very aware of how reality is a separate reality to the dreams you had as a child," he reflects. He probably has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."