Within the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is effortlessly upright, his arms defined beneath a simple white T-shirt. On stage, ballet dancers can appear as mighty deities, yet often offstage they are small. Not so Ball, whose tall stature is one reason for his demand for heroic roles and partnering. Possessing delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Top
At 31, Ball is enjoying the peak of a career that has advanced seamlessly. Raised in Liverpool, he encountered minimal teasing for his childhood passion in ballet. Joining the Royal Ballet School at 11, he graduated directly into the company and was promoted each year, attaining the highest position of principal in 2018. He has relished taking on substantial characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured appearance is in a talk, in an "Evening With" series designed to offer intimate insights into a dancer's craft. He will walk the audience through a part, showing his cognitive workflow during execution. Yet in lighter works, the test is profound. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel following a show, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, quite often I do feel self-conscious later. Following Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Does this exist? "I am very active usually, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Drivers and Creative Influences
His determination originated in youthful experiences. Not doing well in competitions at school made him "driven!" This became motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own choreography. In his view, "there's nothing wrong with." "Challenging the rules 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 wants his work to be filled with substance, drawing ideas from books, music, and art.
Intimate Performance and Personal Dynamic
He also is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a previous show. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not usually paired on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Perception
On Instagram, followers can see clips from his projects and photos that showcase a sculpted physique. Does he mind that the engagement can be somewhat 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 seeing Michelangelo’s David—an object that can be seen on various ways.
Ball describes his early self as "eager for success." Has it met his hopes? "I feel very aware of how reality is a different thing to the dreams you had as a child," he reflects. He probably has about decade of dancing left. "I guess in the time to come, I want to be a bit more kind with myself."
