In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally upright, his limbs muscular beneath a plain white T-shirt. On stage, ballet dancers can seem as powerful deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is one reason for his demand for heroic roles and partnering. Possessing fine features and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced little teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved straight into the troupe and was advanced annually, reaching the highest position of principal in 2018. He has relished tackling substantial dramatic roles, particularly the psychological turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring role is in a talk, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a dancer's art. He will guide the audience through a role, demonstrating his cognitive process during execution. Even in lighter ballets, the test is significant. "Don Quixote is one of the most demanding technically," he states.
The Mental Game and Post-Performance Feelings
What about following a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel embarrassed later. After an intense role I'm always like: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Is there? "I'm quite active in general, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Artistic Influences
Ball's tenacity stemmed from youthful setbacks. Not excelling in contests at school made him "driven!" This became fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is creating his own choreography. In his view, "organic movement has value." "Breaking the rules is interesting, 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 loaded with meaning, drawing ideas from literature, compositions, and painting.
Close-Up Dance and Personal Dynamic
He additionally is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made 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." The couple aren’t typically matched 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."
On Social Media and Physical Perception
On social media, followers can see clips from his dance films and images that highlight a athletic form. Does he mind that the response can be somewhat focused on appearance? 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 ways.
Ball describes his younger self as "eager for success." Has it lived up to his expectations? "I feel very aware of how life is a separate reality to the dreams you had as a child," he muses. He probably has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
