In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is naturally upright, his limbs muscular beneath a simple tee. During performances, dancers can appear as powerful gods, yet often in person they are petite. This is not true for Ball, whose height is part of his popularity for heroic characters and partnering. With fine features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced little teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was promoted annually, attaining the highest position of principal in 2018. He has loved tackling substantial characters, particularly the emotional turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is as himself, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a role, demonstrating his mental process while performance. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Struggle and Post-Performance Emotions
What about after a show, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get lost in the character, quite often I do feel self-conscious afterwards. Following Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a dance maker previously remarked on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Drivers and Creative Influences
Ball's determination originated in early experiences. Not excelling in contests at school made him "vengeful!" This became motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next challenge is making his own dance works. For Ball, "organic movement has value." "Breaking 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 aims his work to be loaded with meaning, drawing ideas from books, compositions, and art.
Close-Up Performance and Private Partnership
He additionally favors presenting dance in smaller spaces. "It was just really exciting," he says of a past show. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They 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. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Image
On Instagram, followers can see videos from his projects and photos that highlight a athletic form. Does he mind that the response can be a bit 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 viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his early self as "eager for success." Has it lived up to his expectations? "I feel very aware of how life is a separate reality to the aspirations you made as a child," he reflects. He probably has another decade of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
