In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his limbs muscular beneath a plain white T-shirt. On stage, ballet dancers can appear as powerful deities, yet often offstage they are petite. Not so Ball, whose tall stature is one reason for his popularity for princely characters and pas de deux work. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced little teasing for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved straight into the company and was promoted annually, attaining the top rank of principal in 2018. He has loved taking on meaty dramatic roles, particularly the emotional angst 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 in a talk, in an "In Conversation" event aiming to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a part, showing his cognitive process during performance. Even in more comedic ballets, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Mental Struggle and Post-Performance Feelings
What about after a performance, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious later. Following Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a dance maker once observed 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 somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Artistic Influences
His determination originated in youthful setbacks. 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 fanatical," he remembers.
An upcoming challenge is making his own choreography. For Ball, "there's nothing wrong with." "Breaking the conventions is compelling, but just acting 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 meaning, drawing ideas from literature, music, and art.
Close-Up Performance and Private Dynamic
He also is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a previous experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their main theater, which is perhaps 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 biggest cheerleader."
On Social Media and Bodily Image
On social media, followers can see videos from his projects and photos that highlight a athletic physique. Does he mind that the response can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—something that can be interpreted on multiple ways.
Ball characterizes his early self as "eager for success." Has it met his expectations? "I feel very aware of how reality is a separate thing to the aspirations you made as a young person," he muses. He probably has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
