In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his limbs defined beneath a plain white T-shirt. During performances, dancers can seem like powerful deities, yet frequently in person they are small. Not so Ball, whose tall stature is part of his demand for princely roles and partnering. With fine features and piercing eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
At 31, Ball is experiencing the peak of a career that has advanced smoothly. Raised in Liverpool, he encountered minimal teasing for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has loved taking on substantial characters, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is in a talk, in an "Evening With" series aiming to offer intimate perspectives into a performer's art. He will guide the crowd through a part, demonstrating his cognitive process during execution. Even in more comedic ballets, the test is significant. "Don Quixote is one of the most demanding technically," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel after a show, when he has pulled it off? "It's pretty good," he admits. "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. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker once observed on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Early Motivations and Creative Inspirations
Ball's tenacity stemmed from youthful experiences. Not excelling in competitions at school made him "driven!" It was motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Challenging the conventions is compelling, 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 meaning, drawing inspiration from literature, music, and painting.
Close-Up Dance and Private Dynamic
He additionally is interested in staging dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their main theater, which is perhaps healthy. "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 supporter."
On Social Media and Bodily Image
On social media, fans can see clips from his projects and images that showcase a athletic physique. Does he care that the response 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 explains. He compares it to seeing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Did it met his expectations? "I am conscious of how reality is a separate thing to the dreams you had as a young person," he reflects. He probably has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
