In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his arms muscular beneath a plain tee. On stage, dancers can seem like powerful gods, yet frequently in person they are small. This is not true for Ball, whose height is one reason for his demand for heroic roles and pas de deux work. With fine traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered little teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the company and was advanced annually, reaching the highest position of principal in 2018. He has loved tackling meaty dramatic roles, particularly the emotional turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next starring role is as himself, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a performer's art. He will walk the crowd through a part, demonstrating his mental workflow during performance. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Game 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, quite often I do feel embarrassed later. Following Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Drivers and Artistic Inspirations
Ball's tenacity originated in early setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next endeavor is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is interesting, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be loaded with meaning, drawing inspiration from books, compositions, and painting.
Close-Up Performance and Personal Partnership
He also is interested in presenting dance in more intimate venues. "It was just really exciting," he says of a past experience. "You’re so close to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t usually matched on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Perception
On Instagram, followers can see clips from his projects and images that showcase a sculpted physique. Does he care 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 precious about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on various levels.
Ball describes his younger self as "eager for success." Did it lived up to his hopes? "I am conscious of how life is a different reality to the dreams you made as a child," he muses. He probably has about ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
