In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally upright, his limbs muscular beneath a plain white T-shirt. On stage, ballet dancers can appear like powerful gods, yet often offstage they are petite. Not so Ball, whose height is part of his demand for heroic characters and pas de deux work. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he encountered minimal teasing for his early interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the troupe and was promoted annually, reaching the top rank of principal in 2018. He has relished tackling meaty dramatic roles, particularly the emotional angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next starring appearance is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes insights into a performer's art. He will guide the crowd through a part, demonstrating his mental process during execution. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the toughest technically," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel after a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, frequently I do feel embarrassed later. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously remarked on a "sense 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 negativity sometimes. I've always felt that negativity has been an instigator for good change."
Early Motivations and Creative Influences
Ball's tenacity stemmed from early experiences. Not doing well in competitions at school made him "driven!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
The next challenge is creating his own choreography. For Ball, "organic movement has value." "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 filled with substance, drawing ideas from literature, music, and art.
Close-Up Performance and Private Partnership
He additionally is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level 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 aren’t usually matched 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, followers can see videos from his projects and photos that showcase a athletic physique. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—something that can be interpreted on various ways.
Ball describes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a different thing to the aspirations you had as a young person," he reflects. He probably has about ten years of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
