Within the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his limbs muscular beneath a plain tee. During performances, dancers can appear like powerful deities, yet frequently in person they are small. This is not true for Ball, whose tall stature is part of his demand for princely roles and pas de deux work. With fine features and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Top
At 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the company and was promoted each year, attaining the highest position of principal in 2018. He has loved tackling meaty characters, especially the emotional angst 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 in a talk, in an "In Conversation" event designed to offer behind-the-scenes insights into a dancer's art. He will guide the audience through a part, showing his cognitive process while performance. Even in lighter works, the challenge 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 show, when he has succeeded? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel self-conscious later. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Does this exist? "I am very active usually, 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 Creative Influences
Ball's determination stemmed from youthful experiences. Not excelling in competitions at school made him "driven!" It was motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.
The next challenge is making his own dance works. In his view, "there's nothing wrong with." "Breaking the rules 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 inspiration from literature, music, and painting.
Intimate Performance and Private Partnership
He additionally is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal 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." They are not typically matched on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Physical Perception
On Instagram, followers can see clips from his dance films and photos that highlight a sculpted physique. Does he care that the engagement can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball characterizes his younger self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how reality is a separate thing to the dreams you made as a child," he reflects. He probably has another ten years of dancing ahead. "I suppose in the future, I want to be a bit more kind with myself."
