In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can seem like powerful deities, yet frequently offstage they are small. This is not true for Ball, whose height is one reason for his demand for princely roles and partnering. With delicate features and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was advanced annually, reaching the top rank of lead dancer in 2018. He has relished taking on substantial characters, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is in a talk, in an "Evening With" event designed to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a part, demonstrating his cognitive workflow while execution. Yet in lighter ballets, the test is profound. "A classic ballet is one of the toughest technically," he states.
The Mental Struggle and Post-Performance Emotions
What about after a show, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. Following Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Is there? "I'm quite energetic 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 instigator for good change."
Formative Drivers and Artistic Influences
Ball's determination stemmed from early experiences. Not excelling in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own choreography. For Ball, "organic movement has value." "Challenging the conventions 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 aims his work to be filled with substance, drawing ideas from books, music, and painting.
Intimate Performance and Personal Dynamic
He additionally favors presenting dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of trust 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 matched on stage at their main theater, which is perhaps healthy. "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 favorite supporter."
On Social Media and Physical Perception
On Instagram, followers can see videos from his projects and photos that showcase a sculpted form. Does he mind that the engagement can be somewhat focused on appearance? 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 viewing Michelangelo’s David—an object that can be seen on multiple levels.
Ball describes his younger self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how life is a different reality to the aspirations you made as a child," he muses. He likely has about decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
