In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally upright, his limbs muscular beneath a plain tee. During performances, dancers can appear like powerful gods, yet often in person they are petite. This is not true for Ball, whose tall stature is part of his demand for princely characters and pas de deux work. Possessing fine traits and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise 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 early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was promoted each year, attaining the highest position of principal in 2018. He has relished tackling substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's craft. He will walk the audience through a part, showing his mental process while performance. Even in more comedic ballets, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Psychological Struggle and Post-Performance Feelings
What about after a performance, 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 role, frequently I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a dance maker previously remarked on a "kind of suffering in him." Is there? "I'm quite active in general, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Early Motivations and Creative Inspirations
Ball's determination stemmed from youthful experiences. Not excelling in competitions at school made him "vengeful!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next endeavor is making his own dance works. In his view, "there's nothing wrong with." "Breaking the rules is interesting, but just acting 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 substance, drawing ideas from literature, music, and painting.
Close-Up Dance and Private Dynamic
He also favors staging dance in more intimate spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not typically matched on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Image
On social media, followers can see videos from his dance films and photos that showcase a athletic form. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—something that can be seen on various ways.
Ball characterizes his younger self as "desperate for success." Did it met his expectations? "I am conscious of how reality is a separate thing to the aspirations you made as a child," he muses. He probably has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
