In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is effortlessly straight-backed, his limbs defined beneath a plain white T-shirt. On stage, dancers can appear like mighty deities, yet often offstage they are small. This is not true for Ball, whose tall stature is part of his demand for heroic roles and partnering. With delicate features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Top
Now 31, Ball is enjoying the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was promoted annually, attaining the highest position of principal in 2018. He has relished taking on substantial characters, particularly the psychological angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is in a talk, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a part, demonstrating his mental workflow while performance. Even in lighter works, the test is significant. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Psychological Game and Post-Performance Emotions
What about following a show, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to extract all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed later. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Motivations and Creative Influences
Ball's determination stemmed from youthful experiences. Not doing well in contests at school made him "driven!" It was fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Breaking the rules is interesting, 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 ideas from books, compositions, and art.
Intimate Performance and Personal Dynamic
He also favors staging dance in more intimate venues. "It was just really exciting," he says of a past experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not usually paired on stage at their main theater, which is perhaps beneficial. "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 biggest cheerleader."
On Social Media and Bodily Image
On social media, followers can see videos from his projects and photos that highlight a sculpted form. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to seeing Michelangelo’s David—something that can be seen on various levels.
Ball describes his early self as "desperate for success." Has it met his hopes? "I feel very aware of how reality is a different reality to the dreams you had as a young person," he reflects. He probably has about ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
