In the hushed atmosphere of a lounge 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. During performances, ballet dancers can appear like mighty deities, yet frequently offstage they are petite. This is not true for Ball, whose height is one reason for his popularity for heroic characters and pas de deux work. Possessing delicate traits and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced little ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was promoted each year, attaining the top rank of principal in 2018. He has relished taking on meaty dramatic roles, particularly the psychological angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured appearance is as himself, in an "Evening With" event designed to offer intimate perspectives into a dancer's art. He will guide the audience through a role, demonstrating his cognitive workflow during execution. Even in more comedic works, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Mental Game and Post-Performance Feelings
What about following a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel embarrassed later. After Mayerling I'm always like: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Formative Motivations and Artistic Influences
Ball's tenacity originated in youthful setbacks. Not excelling in contests at school made him "driven!" It was fuel to prove 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 recalls.
The next challenge is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is compelling, but just acting 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 loaded with meaning, drawing inspiration from literature, music, and art.
Close-Up Performance and Personal Dynamic
He also favors staging dance in smaller spaces. "It was just really exciting," he says of a previous show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t usually matched on stage at their main theater, 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 Physical Image
On Instagram, fans can see clips from his projects and photos that showcase a athletic physique. Does he care that the response can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball characterizes his younger self as "eager for success." Has it lived up to his expectations? "I feel very aware of how life is a different reality to the dreams you made as a young person," he reflects. He probably has about ten years of performing ahead. "I guess in the future, I want to be a bit more kind with myself."
