Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his arms muscular beneath a plain tee. On stage, dancers can appear like mighty deities, yet often in person they are small. This is not true for Ball, whose height is part of his demand for heroic roles and pas de deux work. Possessing delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Top
At 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced little ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he graduated directly into the company and was promoted annually, attaining the top rank of principal in 2018. He has relished taking on substantial dramatic roles, particularly the psychological angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is in a talk, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will guide the audience through a part, demonstrating his mental workflow while performance. Yet in lighter ballets, the test is profound. "Don Quixote is one of the toughest from a skill perspective," he states.
The Psychological Game and Post-Performance Emotions
How does he feel following 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 immersed in the role, quite often I do feel self-conscious later. Following Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I'm quite active in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Artistic Influences
Ball's tenacity stemmed from early experiences. Not excelling in contests at school made him "driven!" This became fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next endeavor is making his own choreography. In his view, "organic movement has value." "Breaking the conventions 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 loaded with meaning, drawing inspiration from literature, compositions, and art.
Close-Up Dance and Personal Partnership
He additionally is interested in staging dance in smaller venues. "It was just really thrilling," he says of a past 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 made pieces with his partner, fellow principal Mayara Magri. The level 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 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 Perception
On Instagram, fans can see videos from his projects and photos that showcase a sculpted physique. Does he care that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—something that can be interpreted on various ways.
Ball characterizes his early self as "eager for success." Did it lived up to his expectations? "I feel very aware of how reality is a different thing to the dreams you had as a young person," he reflects. He likely has another ten years of performing left. "I guess in the future, I want to be a bit more gentle with myself."
