Within the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his limbs muscular beneath a simple tee. During performances, ballet dancers can appear like mighty deities, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is part of his demand for heroic characters and pas de deux work. With delicate traits and piercing eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he encountered minimal ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was advanced each year, reaching the top rank of principal in 2018. He has loved taking on meaty characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a performer's art. He will guide the audience through a role, showing his cognitive workflow while performance. Even in more comedic ballets, the test is profound. "Don Quixote is one of the most demanding technically," he states.
The Mental Struggle and Post-Performance Feelings
How does he feel after a performance, when he has succeeded? "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 embarrassed afterwards. Following an intense role I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I'm quite active in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Artistic Influences
His tenacity stemmed from early setbacks. Not doing well in contests at school made him "vengeful!" This became fuel to demonstrate 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 remembers.
The next challenge is making his own dance works. For Ball, "organic movement has value." "Challenging the conventions is interesting, but just acting 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 inspiration from books, music, and art.
Close-Up Performance and Personal Partnership
He additionally favors presenting dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so close to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer 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 are not usually paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his dance films and photos that showcase a athletic physique. Does he care that the response can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his early self as "eager for success." Did it lived up to his hopes? "I feel very aware of how reality is a different thing to the dreams you had 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 gentle with myself."
