Within the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms muscular beneath a plain white T-shirt. On stage, dancers can seem like powerful gods, yet frequently in person they are small. This is not true for Ball, whose height is part of his demand for heroic characters and partnering. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was promoted annually, attaining the top rank of principal in 2018. He has relished taking on substantial characters, particularly the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next starring appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a performer's craft. He will walk the audience through a part, demonstrating his mental process during execution. Even in lighter ballets, the test is profound. "Don Quixote is one of the toughest technically," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel after a performance, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel embarrassed afterwards. Following an intense role 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 usually, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Creative Influences
His determination originated in early setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is creating his own dance works. For Ball, "there's nothing wrong with." "Challenging the conventions is compelling, 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 loaded with substance, drawing ideas from books, music, and art.
Intimate Performance and Private Dynamic
He also favors staging dance in smaller venues. "It was just really thrilling," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually paired on stage at their main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Physical Image
On social media, fans can see clips from his dance films and images that highlight a athletic form. Does he mind that the response can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be seen on various levels.
Ball characterizes his early self as "eager for success." Has it lived up to his hopes? "I feel very aware of how life is a separate thing to the dreams you had as a child," he reflects. He likely has another ten years of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
