Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a plain white T-shirt. On stage, ballet dancers can appear like powerful gods, yet often offstage they are small. This is not true for Ball, whose tall stature is part of his demand for heroic characters and partnering. Possessing fine traits and piercing eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was promoted annually, attaining the highest position of principal in 2018. He has relished tackling meaty characters, particularly the emotional turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured appearance is in a talk, in an "In Conversation" event aiming to offer intimate insights into a dancer's art. He will guide the audience through a role, showing his cognitive workflow while performance. Even in more comedic works, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Game and After the Show Feelings
What about following a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel self-conscious afterwards. Following Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. Yet a dance maker previously remarked on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Early Drivers and Creative Inspirations
Ball's determination stemmed from youthful setbacks. Not excelling in contests at school made him "driven!" It was fuel to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
The next challenge is making his own dance works. For Ball, "there's nothing wrong with." "Challenging the conventions is compelling, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be loaded with substance, drawing inspiration from books, music, and painting.
Intimate Dance and Personal Partnership
He additionally favors presenting dance in more intimate spaces. "It was just really thrilling," he says of a past 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 created pieces with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually matched on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Image
On social media, fans can see clips from his dance films and photos that highlight a sculpted form. Does he mind that the response can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on various levels.
Ball characterizes his early self as "eager for success." Has it lived up to his expectations? "I feel very aware of how reality is a separate reality to the aspirations you had as a young person," he muses. He likely has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
