Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally upright, his limbs muscular beneath a simple white T-shirt. During performances, ballet dancers can seem like mighty gods, yet often offstage they are small. This is not true for Ball, whose height is one reason for his demand for heroic characters and partnering. Possessing fine features and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the troupe and was advanced each year, reaching the highest position of principal in 2018. He has loved tackling substantial dramatic roles, particularly the psychological turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is as himself, in an "In Conversation" series designed to offer intimate insights into a dancer's craft. He will walk the crowd through a part, showing his cognitive process while execution. Even in lighter ballets, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Struggle and Post-Performance Emotions
How does he feel after a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get lost in the character, frequently I do feel embarrassed later. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Is there? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Early Drivers and Artistic Influences
His determination originated in early experiences. Not excelling in contests at school made him "vengeful!" It was fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming endeavor is making his own dance works. In his view, "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 aims his work to be filled with substance, drawing inspiration from literature, compositions, and art.
Close-Up Dance and Personal Partnership
He additionally is interested in presenting dance in more intimate spaces. "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 perspiring.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Image
On social media, followers can see clips from his dance films and images that showcase a sculpted form. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his early self as "eager for success." Did it lived up to 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 probably has about ten years of dancing left. "I guess in the future, I want to be a bit more kind with myself."
