Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his limbs defined beneath a simple tee. During performances, ballet dancers can appear like mighty gods, yet frequently in person they are petite. This is not true for Ball, whose height is part of his demand for princely characters and pas de deux work. Possessing fine traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he faced minimal ridicule for his early passion in ballet. Joining the Royal Ballet School at 11, he graduated directly into the troupe and was advanced each year, reaching the highest position of principal in 2018. He has relished taking on meaty dramatic roles, especially 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 appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's art. He will guide the audience through a part, demonstrating his cognitive process while execution. Even in lighter ballets, the test is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Mental Game and Post-Performance Feelings
How does he feel after a show, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to extract all the juice out of it, and get lost in the character, frequently I do feel self-conscious afterwards. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer once remarked on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Early Motivations and Creative Influences
His determination originated in early setbacks. Not doing well in competitions at school made him "driven!" This became fuel to demonstrate he could achieve. Discovering 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. In his view, "there's nothing wrong with." "Breaking the rules 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 wants his work to be filled with meaning, drawing ideas from literature, compositions, and art.
Intimate Dance and Personal Dynamic
He additionally favors staging dance in smaller venues. "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 human, and they’re sweating.'"
Ball has made 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 daring lift. "It was like Dirty Dancing." The couple are not 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 Physical Perception
On Instagram, fans can see videos from his projects and images that showcase a sculpted physique. Does he mind that the engagement 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 compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball characterizes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how reality is a separate reality to the aspirations you had as a child," he muses. He probably has about decade of performing left. "I guess in the future, I want to be a bit more gentle with myself."
