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In the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally straight-backed, his limbs defined beneath a simple tee. During performances, dancers can seem as mighty gods, yet frequently offstage they are small. Not so Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. Possessing delicate features and piercing eyes, there's a hint of a brooding actor about him.

A Seamless Ascent to the Top

Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he faced minimal teasing for his early passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was promoted annually, reaching the highest position of principal in 2018. He has loved taking on substantial dramatic roles, particularly the psychological angst found in a famed choreographer's works.

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

Ball's upcoming featured appearance is in a talk, in an "In Conversation" series aiming to offer intimate insights into a performer's art. He will walk the crowd through a role, showing his cognitive process during performance. Yet in lighter ballets, the challenge is profound. "Don Quixote is one of the toughest technically," he notes.

The Mental Game and Post-Performance Emotions

What about following a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, quite often I do feel embarrassed afterwards. Following Mayerling I'm always like: Wow, what must people think?"

In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker once observed on a "kind of suffering in him." Does this exist? "I am very active in general, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."

Formative Drivers and Artistic Inspirations

Ball's determination originated in early experiences. Not doing well in competitions at school made him "vengeful!" This became fuel to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.

An upcoming challenge is making his own choreography. For Ball, "there's nothing wrong with." "Breaking the conventions 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 meaning, drawing ideas from books, compositions, and painting.

Intimate Performance and Personal Dynamic

He additionally favors staging dance in more intimate spaces. "It was just really thrilling," he says of a previous experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"

Ball has created pieces with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest cheerleader."

Regarding Instagram and Bodily Image

On Instagram, followers can see videos from his projects and images that highlight a athletic physique. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on multiple levels.

Ball describes his early self as "desperate for success." Did it met his expectations? "I am conscious of how reality is a different reality to the dreams you made as a child," 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."