In the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. On stage, dancers can appear like powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is part of his demand for heroic characters and partnering. With delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he faced little teasing for his early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was promoted annually, reaching the highest position of lead dancer in 2018. He has loved taking on substantial characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes insights into a performer's craft. He will walk the crowd through a part, showing his mental process while execution. Yet in more comedic ballets, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Game and Post-Performance Emotions
What about following a show, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get lost in the character, quite often I do feel embarrassed later. After Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Early Motivations and Creative Influences
His determination stemmed from youthful setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the rules 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 filled with substance, drawing inspiration from books, music, and art.
Intimate Performance and Private Partnership
He also favors presenting dance in smaller spaces. "It was just really exciting," he says of a previous experience. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Perception
On social media, fans can see videos from his projects and photos that showcase a athletic physique. Does he mind that the engagement 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 relates it to viewing Michelangelo’s David—an object that can be interpreted on various ways.
Ball describes his early self as "desperate for success." Has it met his expectations? "I am conscious of how reality is a different reality to the aspirations you made as a child," he muses. He probably has another decade of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
