In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly straight-backed, his limbs defined beneath a plain white T-shirt. During performances, dancers can seem as mighty deities, yet frequently in person they are petite. This is not true for Ball, whose height is one reason for his demand for princely characters and pas de deux work. Possessing fine features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is enjoying the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he moved straight into the company and was advanced each year, reaching the highest position of principal in 2018. He has loved tackling meaty characters, especially the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring role is as himself, in an "Evening With" event designed to offer behind-the-scenes insights into a performer's art. He will walk the audience through a role, showing his cognitive workflow during performance. Yet in more comedic ballets, the test is significant. "A classic ballet is one of the toughest technically," he notes.
The Psychological Game and After the Show Feelings
How does he feel after a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get lost in the role, quite often I do feel self-conscious afterwards. After Mayerling I'm always like: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I'm quite active usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Artistic Inspirations
Ball's determination stemmed from early experiences. Not excelling in competitions at school made him "driven!" This became 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 obsessive," he remembers.
An upcoming challenge is making his own choreography. In his view, "organic movement has value." "Challenging the conventions is interesting, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be filled with substance, drawing inspiration from literature, music, and art.
Intimate Performance and Personal Dynamic
He additionally favors staging dance in more intimate spaces. "It was just really thrilling," he says of a past experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t usually paired on stage at their home company, which might be healthy. "We’re both quite determined 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 Perception
On Instagram, followers can see videos from his projects and images that showcase a sculpted form. Does he care that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be interpreted on various levels.
Ball describes his early self as "eager for success." Did it met his hopes? "I feel very aware of how life is a separate thing to the dreams you made as a young person," he reflects. He likely has another ten years of performing left. "I suppose in the future, I want to be a bit more kind with myself."
