In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his limbs defined beneath a simple white T-shirt. On stage, dancers can appear like powerful gods, yet frequently in person they are petite. This is not true for Ball, whose tall stature is part of his popularity for princely characters and pas de deux work. Possessing delicate traits and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the company and was promoted annually, attaining the top rank of principal in 2018. He has relished tackling meaty dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next starring role is as himself, in an "In Conversation" series aiming to offer intimate perspectives into a dancer's craft. He will walk the crowd through a role, demonstrating his mental process during performance. Yet in lighter works, the challenge is profound. "A classic ballet is one of the toughest technically," he states.
The Mental Struggle and Post-Performance Emotions
How does he feel following a show, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, frequently I do feel self-conscious afterwards. Following an intense role I'm always like: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer once remarked on a "sense of suffering in him." Is there? "I'm quite active in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Early Motivations and Creative Influences
His tenacity originated in early setbacks. Not doing well in contests at school made him "driven!" This became fuel to demonstrate 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.
The next challenge is creating his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is interesting, but just pretending 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 substance, drawing inspiration from literature, compositions, and art.
Intimate Dance and Personal Dynamic
He additionally is interested in presenting dance in smaller 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 sweating.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t typically paired on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Perception
On Instagram, fans can see clips from his projects and photos that showcase a sculpted form. Does he care that the response can be a bit focused on appearance? 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 interpreted on various ways.
Ball characterizes his early self as "eager for success." Has it lived up to his expectations? "I am conscious of how life is a different thing to the aspirations you made as a child," he reflects. He probably has about decade of dancing left. "I guess in the time to come, I want to be a bit more gentle with myself."
