Within the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his limbs defined beneath a simple tee. During performances, ballet dancers can appear like powerful gods, yet often in person they are petite. Not so Ball, whose height is one reason for his demand for princely roles and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Top
At 31, Ball is experiencing the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered minimal teasing for his early passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was advanced annually, reaching the highest position of principal in 2018. He has relished taking on meaty dramatic roles, especially the emotional turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is in a talk, in an "Evening With" event aiming to offer intimate insights into a performer's craft. He will guide the audience through a part, showing his mental workflow during performance. Even in lighter works, the challenge is profound. "Don Quixote is one of the toughest from a skill perspective," he notes.
The Mental Game and After the Show Emotions
How does he feel after a performance, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel embarrassed later. Following an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker previously remarked on a "sense of suffering in him." Does this exist? "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 doubt has been an catalyst for good change."
Early Motivations and Creative Influences
His tenacity stemmed from early setbacks. Not doing well in contests at school made him "driven!" This became motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own choreography. For Ball, "organic movement has value." "Breaking the rules 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, compositions, and art.
Close-Up Dance and Personal Dynamic
He additionally is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."
On Social Media and Physical Image
On Instagram, fans can see clips from his projects and photos that highlight a athletic form. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—an object that can be interpreted on various ways.
Ball characterizes his younger self as "desperate for success." Did it met his expectations? "I am conscious of how reality is a different reality to the dreams you had as a child," he muses. He probably has another ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
