In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his arms defined beneath a plain tee. During performances, dancers can seem as mighty gods, yet frequently in person they are petite. Not so Ball, whose tall stature is part of his demand for princely roles and partnering. With fine traits and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Joining the Royal Ballet School at 11, he graduated straight into the company and was promoted annually, reaching the top rank of principal in 2018. He has loved tackling meaty characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is in a talk, in an "Evening With" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will guide the audience through a role, demonstrating his cognitive process while execution. Even in more comedic works, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Game and Post-Performance Emotions
What about after a show, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to extract all the juice out of it, and get lost in the character, quite often I do feel self-conscious afterwards. After an intense role I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer previously observed on a "sense of suffering in him." Does this exist? "I am very active usually, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Motivations and Creative Influences
His determination stemmed from early setbacks. Not doing well in competitions at school made him "vengeful!" It was motivation 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 obsessive," he remembers.
An upcoming challenge is creating his own dance works. For Ball, "there's nothing wrong with." "Breaking the rules is compelling, 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 filled with substance, drawing ideas from literature, compositions, and painting.
Close-Up Performance and Personal Partnership
He additionally is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Image
On social media, followers can see videos from his dance films and images that showcase a sculpted form. Does he care that the response can be a bit objectifying? 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—an object that can be interpreted on multiple levels.
Ball describes his younger self as "eager for success." Has it lived up to his hopes? "I feel very aware of how life is a separate reality to the aspirations you made as a young person," he reflects. He probably has another decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
