In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his arms defined beneath a simple tee. On stage, dancers can appear as mighty deities, yet often offstage they are small. Not so Ball, whose tall stature is part of his popularity for princely roles and pas de deux work. Possessing fine features and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
Now 31, Ball is enjoying the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered little teasing for his childhood interest 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 loved taking on meaty characters, especially the emotional turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring role is as himself, in an "Evening With" event designed to offer behind-the-scenes perspectives into a performer's art. He will walk the crowd through a role, showing his cognitive process during execution. Yet in more comedic works, the test is profound. "Don Quixote is one of the toughest from a skill perspective," he states.
The Mental Game and After the Show Emotions
What about following a performance, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, quite often I do feel self-conscious afterwards. After an intense role I'm always like: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Early Drivers and Creative Influences
His determination originated in youthful experiences. Not excelling in contests at school made him "vengeful!" This became motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging 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 filled with substance, drawing inspiration from books, compositions, and art.
Close-Up Performance and Personal Partnership
He additionally favors presenting dance in smaller venues. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level 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 are not usually paired on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Image
On social media, followers can see clips from his dance films and images that highlight a sculpted physique. Does he mind that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be seen on various levels.
Ball describes his younger self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how life is a separate thing to the aspirations you made as a young person," he reflects. He probably has another ten years of performing left. "I suppose in the future, I want to be a bit more gentle with myself."
