In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms muscular beneath a plain tee. On stage, dancers can appear as powerful deities, yet often offstage they are small. Not so Ball, whose height is part of his popularity for princely roles and pas de deux work. With fine features and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he moved directly into the troupe and was advanced annually, attaining the highest position of principal in 2018. He has relished taking on meaty dramatic roles, especially the emotional angst found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next starring role is as himself, in an "In Conversation" event aiming to offer intimate insights into a performer's craft. He will guide the crowd through a role, demonstrating his mental process during execution. Even in more comedic ballets, the challenge is profound. "A classic ballet is one of the most demanding technically," he states.
The Mental Game and After the Show Feelings
What about following a show, when he has succeeded? "It's pretty good," he says. "But because I'm trying to extract all the emotion out of it, and get lost in the role, frequently I do feel self-conscious later. After Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a choreographer once remarked on a "kind of suffering in him." Is there? "I'm quite active usually, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Creative Inspirations
His tenacity originated in youthful experiences. Not excelling in contests at school made him "driven!" It was fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is compelling, 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 meaning, drawing ideas from literature, music, and art.
Intimate Dance and Private Dynamic
He additionally is interested in staging dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. 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 degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not usually 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 cheerleader."
Regarding Instagram and Bodily Image
On social media, followers can see videos from his projects and images that highlight a sculpted form. Does he mind that the engagement can be a bit objectifying? Not really. "The body is just what we use, 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 levels.
Ball characterizes his early self as "desperate for success." Has it lived up to his expectations? "I feel very aware of how reality is a different thing to the aspirations you had as a child," he muses. He probably has another decade of dancing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
