In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly straight-backed, his limbs defined beneath a plain tee. On stage, dancers can seem as mighty gods, yet often offstage they are petite. Not so Ball, whose tall stature is part of his popularity for princely roles and pas de deux work. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Top
At 31, Ball is experiencing the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced little teasing for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the troupe and was promoted each year, reaching the top rank of principal in 2018. He has loved tackling substantial characters, particularly the psychological turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next starring appearance is in a talk, in an "In Conversation" event designed to offer intimate insights into a performer's craft. He will guide the crowd through a role, demonstrating his mental workflow while execution. Even in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Psychological Struggle and Post-Performance Feelings
How does he feel after a show, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. But a choreographer once observed on a "kind of suffering in him." Is there? "I'm quite active usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Formative Motivations and Creative Influences
Ball's tenacity originated in early setbacks. Not excelling in contests at school made him "driven!" It was fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming endeavor is making his own dance works. In his view, "organic movement has value." "Breaking the rules is interesting, but just pretending 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 loaded with substance, drawing ideas from books, music, and art.
Close-Up Performance and Personal Partnership
He also is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a previous show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They aren’t usually matched on stage at their home company, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, fans can see clips from his dance films and photos that highlight a sculpted form. Does he mind that the response can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his younger self as "eager for success." Did it lived up to his hopes? "I feel very aware of how reality is a separate thing to the dreams you had as a child," he muses. He probably has another ten years of performing ahead. "I guess in the future, I want to be a bit more kind with myself."
