In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his limbs defined beneath a plain white T-shirt. During performances, ballet dancers can seem as powerful gods, yet frequently in person they are petite. Not so Ball, whose height is part of his popularity for princely roles and pas de deux work. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced little ridicule for his childhood passion in ballet. Joining the Royal Ballet School at 11, he moved straight into the company and was promoted annually, attaining the highest position of principal in 2018. He has loved taking on substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring role is as himself, in an "Evening With" event aiming to offer behind-the-scenes insights into a performer's craft. He will guide the audience through a part, showing his mental workflow while execution. Even in lighter works, the test is profound. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Struggle and After the Show Feelings
How does he feel following a performance, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to extract all the juice out of it, and get immersed in the character, frequently I do feel self-conscious later. 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. Yet a choreographer once remarked on a "sense of suffering in him." Does this exist? "I am very active usually, 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 good change."
Formative Motivations and Creative Influences
Ball's tenacity originated in early experiences. Not doing well in competitions at school made him "vengeful!" It was fuel 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 fanatical," he remembers.
The next endeavor is creating his own dance works. For Ball, "organic movement has value." "Challenging the rules 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 filled with substance, drawing inspiration from books, compositions, and painting.
Intimate Dance and Private Partnership
He additionally is interested in staging dance in more intimate 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 realizing: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They are not typically paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite supporter."
On Social Media and Physical Perception
On Instagram, fans can see videos from his projects and photos that highlight a athletic physique. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—something that can be seen on multiple levels.
Ball characterizes his younger 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 had as a child," he reflects. He likely has about decade of performing left. "I suppose in the future, I want to be a bit more kind with myself."
