In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his arms defined beneath a plain white T-shirt. On stage, ballet dancers can appear as powerful deities, yet frequently offstage they are small. This is not true for Ball, whose height is one reason for his popularity for heroic roles and pas de deux work. Possessing delicate features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he faced minimal teasing for his early passion in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was promoted each year, reaching the top rank of principal in 2018. He has relished taking on substantial characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next starring role is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a performer's craft. He will walk the audience through a part, showing his mental workflow while execution. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the most demanding technically," he notes.
The Mental Struggle and Post-Performance Feelings
How does he feel following a show, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed afterwards. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer once observed on a "sense of suffering in him." Is there? "I'm quite active in general, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Early Drivers and Creative Influences
His determination stemmed from early setbacks. Not excelling in contests at school made him "driven!" It was motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming challenge is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is compelling, but just pretending 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 filled with substance, drawing inspiration from literature, compositions, and painting.
Close-Up Performance and Personal Dynamic
He additionally favors presenting dance in more intimate spaces. "It was just really exciting," he says of a previous show. "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 degree of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically matched on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On social media, fans can see videos from his projects and images that highlight a sculpted form. Does he care 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 precious about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on various ways.
Ball characterizes his early self as "eager for success." Did it met his expectations? "I feel very aware of how reality is a different reality to the aspirations you made as a child," he reflects. He likely has about decade of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
