Within the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his limbs muscular beneath a simple tee. On stage, ballet dancers can appear like powerful deities, yet often in person they are petite. Not so Ball, whose height is one reason for his popularity for princely characters and partnering. Possessing fine features and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his childhood interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was advanced each year, reaching the top rank of principal in 2018. He has loved taking on meaty characters, especially the psychological turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured appearance is in a talk, in an "In Conversation" series designed to offer intimate insights into a dancer's craft. He will guide the audience through a role, demonstrating his cognitive process during performance. Even in lighter works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Game and After the Show Emotions
What about after a show, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel self-conscious afterwards. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. Yet a dance maker 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 reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Drivers and Artistic Inspirations
His determination stemmed from youthful experiences. Not doing well in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is making his own choreography. In his view, "there's nothing wrong with." "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 aims his work to be filled with substance, drawing inspiration from literature, music, and art.
Close-Up Performance and Private Dynamic
He also favors staging 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 person, and they’re perspiring.'"
Ball has created 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 resembled Dirty Dancing." They aren’t usually matched on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Image
On Instagram, followers can see videos from his projects and images 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 work with, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his early self as "eager for success." Did it met his hopes? "I am conscious of how reality is a separate thing to the dreams you had as a child," he muses. He likely has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
