Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his arms muscular beneath a plain tee. During performances, dancers can appear like powerful deities, yet often in person they are small. This is not true for Ball, whose tall stature is part of his demand for heroic roles and partnering. Possessing fine features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Raised in Liverpool, he encountered minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was advanced each year, reaching the highest position of principal in 2018. He has loved tackling substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is as himself, in an "In Conversation" event aiming to offer intimate perspectives into a performer's craft. He will walk the audience through a role, showing his mental process while performance. Even in more comedic ballets, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Struggle and Post-Performance Feelings
What about after a show, when he has succeeded? "It's 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 self-conscious afterwards. After an intense role I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a dance maker once remarked on a "sense of suffering in him." Does this exist? "I am very active in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."
Early Drivers and Creative Influences
His determination stemmed from youthful experiences. Not doing well in contests at school made him "driven!" It was motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next challenge is creating his own choreography. In his view, "organic movement has value." "Challenging the conventions is compelling, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be loaded with substance, drawing inspiration from books, music, and painting.
Intimate Performance and Private Dynamic
He additionally favors staging dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so near to the viewers. 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 level of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Image
On social media, fans can see videos from his dance films and photos that highlight a sculpted physique. Does he care that the engagement can be a bit focused on appearance? Not really. "The body is just what we work with, 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 multiple levels.
Ball describes his early self as "eager for success." Has it met his hopes? "I am conscious of how reality is a different thing to the dreams you had as a child," he reflects. He likely has another decade of dancing left. "I guess in the future, I want to be a bit more gentle with myself."
