Within the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his limbs defined beneath a plain white T-shirt. During performances, ballet dancers can seem as mighty gods, yet frequently in person they are small. Not so Ball, whose tall stature is one reason for his popularity for princely characters and partnering. Possessing delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Top
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was advanced annually, attaining the top rank of principal in 2018. He has relished taking on meaty dramatic roles, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured role is in a talk, in an "Evening With" series designed to offer behind-the-scenes insights into a performer's art. He will walk the audience through a role, demonstrating his mental process during execution. Even in lighter works, the challenge is profound. "Don Quixote is one of the most demanding technically," he states.
The Psychological Struggle and Post-Performance Feelings
What about after a show, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel embarrassed later. Following Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer previously 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 reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Motivations and Artistic Influences
His determination originated in early experiences. Not doing well in contests at school made him "driven!" It was fuel to demonstrate 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 creating his own dance works. In his view, "there's nothing wrong with." "Breaking the conventions is compelling, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be loaded with meaning, drawing ideas from literature, music, and art.
Close-Up Performance and Personal Dynamic
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 realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level 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 usually matched on stage at their home company, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Image
On Instagram, fans can see videos from his projects and images that showcase a sculpted form. Does he mind that the engagement can be a bit focused on appearance? Not really. "The body is just what we use, 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 multiple ways.
Ball characterizes his younger self as "desperate for success." Has it lived up to his hopes? "I am conscious of how life is a different reality to the dreams you had as a young person," he reflects. He likely has about ten years of performing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
