Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his limbs defined beneath a simple white T-shirt. On stage, dancers can seem like mighty deities, yet often in person they are petite. This is not true for Ball, whose tall stature is one reason for his popularity for heroic characters and partnering. With fine traits and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he encountered little ridicule for his childhood passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the company and was promoted annually, attaining the top rank of principal in 2018. He has loved tackling meaty dramatic roles, especially 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 next starring appearance is in a talk, in an "Evening With" series aiming to offer behind-the-scenes perspectives into a dancer's art. He will guide the audience through a role, demonstrating his cognitive process while execution. Even in more comedic ballets, the test is profound. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Struggle and Post-Performance Feelings
How does he feel following a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick 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 dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Early Drivers and Artistic Influences
Ball's determination originated in youthful experiences. Not excelling in contests at school made him "driven!" It was motivation to demonstrate 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.
An upcoming challenge is creating his own choreography. In his view, "organic movement has value." "Breaking 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 aims his work to be filled with substance, drawing ideas from literature, compositions, and art.
Intimate Dance and Private Dynamic
He also is interested in staging dance in smaller venues. "It was just really exciting," he says of a previous show. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their home company, which might be beneficial. "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 biggest supporter."
Regarding Instagram and Bodily Perception
On Instagram, fans can see clips from his dance films and images that showcase a athletic physique. Does he mind 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 protective about it," he explains. He compares it to seeing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball characterizes his younger self as "eager for success." Has it met his hopes? "I feel very aware of how life is a separate reality to the dreams you had as a young person," he reflects. He likely has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
