In the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his arms defined beneath a simple tee. During performances, ballet dancers can appear like mighty deities, yet often offstage they are small. This is not true for Ball, whose tall stature is one reason for his popularity for princely characters and partnering. Possessing fine features and intense eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the Royal Ballet School at 11, he moved straight into the troupe and was promoted annually, attaining the highest position of principal in 2018. He has loved taking on substantial dramatic roles, particularly the emotional turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next featured appearance is in a talk, in an "In Conversation" event aiming to offer intimate perspectives into a performer's craft. He will guide the audience through a part, demonstrating his cognitive process during execution. Even in lighter works, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Struggle and Post-Performance Feelings
How does he feel after a show, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to extract 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: Wow, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously observed on a "kind of suffering in him." Is there? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Drivers and Creative Inspirations
His tenacity stemmed from early experiences. Not excelling in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
The next endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Breaking the rules is interesting, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be filled with meaning, drawing inspiration from literature, music, and painting.
Intimate Dance and Personal Dynamic
He also favors presenting dance in more intimate spaces. "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 human, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his dance films and photos that showcase a sculpted physique. Does he care that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his younger self as "desperate for success." Has it met his hopes? "I am conscious of how reality is a separate thing to the aspirations you made as a young person," he reflects. He likely has another ten years of performing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
