In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his arms defined beneath a plain white T-shirt. On stage, ballet dancers can seem as mighty gods, yet often 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. Possessing fine traits and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is enjoying the peak of a career that has advanced seamlessly. Raised in Liverpool, he encountered little ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the troupe and was promoted annually, reaching the top rank of principal in 2018. He has relished tackling substantial dramatic roles, especially the emotional turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next featured role is in a talk, in an "Evening With" series aiming to offer intimate insights into a performer's craft. He will guide the audience through a part, showing his cognitive workflow during execution. Yet in more comedic ballets, the challenge is significant. "A classic ballet is one of the toughest technically," he states.
The Mental Struggle and Post-Performance Feelings
What about after a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. Following Mayerling 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 previously remarked on a "kind of suffering in him." Is there? "I am very energetic in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Creative Inspirations
His tenacity originated in youthful experiences. Not doing well in competitions at school made him "vengeful!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own choreography. For Ball, "there's nothing wrong with." "Breaking the conventions is interesting, but just pretending 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 meaning, drawing ideas from literature, music, and painting.
Intimate Performance and Private Partnership
He additionally favors presenting dance in more intimate venues. "It was just really thrilling," he says of a previous show. "You’re so close 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 lead dancer Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Image
On social media, fans can see clips from his dance films and photos that highlight a athletic physique. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his early self as "eager for success." Has it lived up to his expectations? "I feel very aware of how reality is a separate reality to the aspirations you made as a young person," he reflects. He probably has about ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
