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In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his limbs defined beneath a simple tee. During performances, ballet dancers can seem as powerful gods, yet frequently in person they are petite. This is not true for Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. Possessing fine traits and intense eyes, there's a touch of a brooding actor about him.

An Apparent Ascent to the Pinnacle

At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he faced minimal teasing for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was promoted annually, reaching the highest position of principal in 2018. He has loved tackling meaty characters, especially the psychological angst found in a famed choreographer's ballets.

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

Ball's next starring role is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a performer's art. He will walk the audience through a part, demonstrating his mental workflow during performance. Even in lighter ballets, the test is significant. "A classic ballet is one of the most demanding technically," he states.

The Psychological Struggle and After the Show Emotions

How does he feel after a performance, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get lost in the character, quite often I do feel embarrassed later. After Mayerling I'm always thinking: God, what must people think?"

In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet 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 somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."

Formative Drivers and Creative Influences

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

The next endeavor is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is interesting, 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 literature, music, and painting.

Intimate Performance and Private Partnership

He additionally is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a previous experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"

Ball has created duets with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their home company, which might be beneficial. "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 supporter."

On Social Media and Bodily Perception

On social media, fans can see videos from his projects and photos that showcase a sculpted form. Does he mind that the response can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to seeing Michelangelo’s David—something that can be interpreted on various ways.

Ball describes his younger self as "desperate for success." Has 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 likely has about ten years of dancing ahead. "I suppose in the future, I want to be a bit more gentle with myself."