Within the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can appear as powerful gods, yet often offstage they are small. This is not true for Ball, whose height is one reason for his demand for princely characters and partnering. With fine traits and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he faced minimal ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was promoted each year, reaching the top rank of principal in 2018. He has relished tackling meaty characters, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring role is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes insights into a performer's craft. He will guide the audience through a part, demonstrating his cognitive workflow while performance. Even in more comedic ballets, the challenge is profound. "A classic ballet is one of the most demanding technically," he notes.
The Mental Game and Post-Performance Feelings
What about following a show, when he has succeeded? "It's pretty good," he says. "But because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel self-conscious later. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Early Drivers and Creative Inspirations
Ball's tenacity stemmed from youthful experiences. Not doing well in contests at school made him "vengeful!" It was motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Challenging 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 wants his work to be loaded with substance, drawing ideas from books, compositions, and art.
Intimate Dance and Private Dynamic
He additionally favors staging dance in more intimate spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They are not usually paired on stage at their home company, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest cheerleader."
On Social Media and Physical Perception
On Instagram, fans can see clips from his dance films and images that highlight a athletic physique. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on multiple levels.
Ball describes his younger self as "desperate for success." Has it met his expectations? "I am conscious of how reality is a separate thing to the dreams you had as a child," he muses. He likely has about ten years of dancing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
