In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can appear as mighty deities, yet frequently offstage they are petite. Not so Ball, whose height is one reason for his popularity for princely roles and pas de deux work. Possessing fine features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered minimal ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the company and was promoted each year, attaining the highest position of principal in 2018. He has relished tackling meaty dramatic roles, especially the emotional turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is in a talk, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a dancer's art. He will guide the audience through a part, demonstrating his mental workflow while execution. Even in lighter works, the challenge is significant. "A classic ballet is one of the toughest technically," he notes.
The Mental Game and After the Show Emotions
How does he feel following a performance, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. Following Mayerling I'm always like: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a dance maker previously remarked on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Formative Drivers and Artistic Inspirations
Ball's determination stemmed from early experiences. Not excelling in competitions at school made him "driven!" This became motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next challenge is creating his own choreography. In his view, "organic movement has value." "Challenging the rules is compelling, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be filled with meaning, drawing inspiration from literature, compositions, and painting.
Close-Up Dance and Private Partnership
He additionally is interested in presenting dance in more intimate venues. "It was just really exciting," he says of a past experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has created duets 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 resembled Dirty Dancing." They aren’t usually paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Perception
On social media, followers 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 really. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—something that can be seen on multiple levels.
Ball characterizes his early self as "eager for success." Did it met his expectations? "I am conscious of how reality is a different reality to the dreams you made as a child," he reflects. He probably has another decade of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
