Within the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his limbs muscular beneath a simple white T-shirt. During performances, ballet dancers can appear as powerful gods, yet often in person they are small. Not so Ball, whose height is part of his demand for princely roles and pas de deux work. Possessing delicate features and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his childhood passion in ballet. Joining the Royal Ballet School at 11, he graduated straight into the troupe and was advanced each year, reaching the highest position of principal in 2018. He has loved taking on substantial characters, particularly the emotional turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring role is in a talk, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will walk the crowd through a part, demonstrating his cognitive workflow while execution. Even in more comedic ballets, the test is significant. "A classic ballet is one of the toughest technically," he states.
The Psychological Struggle and Post-Performance Feelings
How does he feel following a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the character, frequently I do feel embarrassed later. Following Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I'm quite active in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Formative Motivations and Artistic Influences
Ball's tenacity originated in early experiences. Not doing well in competitions at school made him "vengeful!" It was fuel to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is creating his own choreography. For Ball, "organic movement has value." "Challenging the rules is interesting, but just pretending 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 filled with substance, drawing inspiration from books, music, and art.
Close-Up Dance and Private Dynamic
He additionally is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal 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 usually matched on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, followers can see videos from his dance films and images that showcase a athletic form. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Did it met his expectations? "I am conscious of how reality is a separate reality to the dreams you made as a young person," he muses. He likely has another ten years of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
