Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly straight-backed, his limbs defined beneath a simple tee. During performances, ballet dancers can appear as powerful deities, yet often in person they are petite. This is not true for Ball, whose tall stature is one reason for his demand for princely characters and partnering. With delicate features and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced little teasing for his childhood passion in ballet. Entering the Royal Ballet School at 11, he moved straight into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has loved tackling substantial dramatic roles, especially the emotional turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will walk the crowd through a role, demonstrating his cognitive process during execution. Even in lighter ballets, the test is profound. "Don Quixote is one of the toughest technically," he notes.
The Mental Struggle and After the Show Emotions
What about following a performance, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get lost in the character, quite often I do feel embarrassed later. Following Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer previously remarked on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."
Formative Motivations and Creative Inspirations
Ball's tenacity stemmed from early experiences. Not doing well 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 flipped a switch, it made me go a bit obsessive," he recalls.
The next challenge is making his own dance works. For Ball, "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 ideas from literature, music, and art.
Close-Up Performance and Personal Partnership
He additionally is interested in presenting dance in more intimate spaces. "It was just really exciting," he says of a previous show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces 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 was like Dirty Dancing." The couple are not typically matched on stage at their main theater, which is perhaps beneficial. "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 Bodily Perception
On social media, fans can see videos from his projects and photos that showcase a sculpted physique. Does he mind 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 states. He relates it to seeing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his younger self as "eager for success." Has it met his expectations? "I feel very aware of how reality is a separate reality to the aspirations you made as a young person," he reflects. He likely has about decade of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
