In the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally upright, his arms defined beneath a plain tee. During performances, ballet dancers can appear as powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose height is part of his popularity for princely characters and partnering. With delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early passion in ballet. Entering the Royal Ballet School at 11, he moved straight into the company and was advanced annually, reaching the highest position of principal in 2018. He has relished taking on meaty characters, particularly the psychological turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next featured appearance is as himself, in an "In Conversation" event aiming to offer intimate insights into a dancer's art. He will guide the audience through a role, showing his cognitive process while execution. Even in lighter ballets, the challenge is significant. "Don Quixote is one of the toughest technically," he notes.
The Mental Game and After the Show Emotions
What about following a show, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed afterwards. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously observed on a "kind of suffering in him." Does this exist? "I'm quite active 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 catalyst for positive change."
Early Drivers and Creative Inspirations
His determination stemmed from early experiences. Not excelling in competitions at school made him "vengeful!" It was fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own dance works. In his view, "organic movement has value." "Challenging the rules 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 wants his work to be filled with meaning, drawing inspiration from books, music, and painting.
Intimate Performance and Private Dynamic
He additionally is interested in presenting dance in more intimate spaces. "It was just really exciting," he says of a previous experience. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They are not usually paired on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Image
On social media, followers can see videos from his dance films and photos that highlight a sculpted form. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball characterizes his early self as "eager for success." Did it met his expectations? "I feel very aware of how reality is a different reality to the dreams you had as a child," he muses. He probably has another decade of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
