In the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly upright, his arms defined beneath a simple tee. During performances, dancers can appear like mighty deities, yet frequently in person they are petite. Not so Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. With delicate features and piercing eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Top
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Entering the Royal Ballet School at 11, he moved straight into the company and was advanced annually, attaining the top rank of principal in 2018. He has relished taking on substantial dramatic roles, particularly the emotional angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring appearance is as himself, in an "Evening With" series designed to offer intimate insights into a dancer's craft. He will guide the crowd through a role, demonstrating his cognitive workflow during performance. Even in lighter works, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Mental Game and Post-Performance Emotions
What about after a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the character, frequently I do feel self-conscious later. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Drivers and Creative Influences
Ball's determination stemmed from early setbacks. Not excelling in competitions at school made him "driven!" This became fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is interesting, 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 filled with substance, drawing inspiration from books, compositions, and art.
Close-Up Dance and Personal Partnership
He also favors staging dance in more intimate venues. "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 sweating.'"
Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his dance films and images that showcase a athletic form. Does he care that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball describes his early self as "eager for success." Has it lived up to his expectations? "I am conscious of how reality is a different reality to the aspirations you made as a child," he reflects. He likely has another decade of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
