In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can seem as powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose height is one reason for his popularity for heroic characters and pas de deux work. With delicate traits and intense eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced little teasing for his early passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was advanced annually, attaining the highest position of principal in 2018. He has relished tackling meaty dramatic roles, especially the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next starring appearance is as himself, in an "Evening With" event designed to offer behind-the-scenes perspectives into a performer's art. He will walk the audience through a role, demonstrating his mental process during execution. Even in lighter ballets, the test is significant. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel after a performance, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the role, quite often I do feel embarrassed later. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a choreographer previously observed on a "sense of suffering in him." Is there? "I'm quite energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Early Drivers and Creative Inspirations
His determination originated in early experiences. Not doing well in contests at school made him "vengeful!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.
The next challenge is creating his own choreography. For Ball, "there's nothing wrong with." "Challenging 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 aims his work to be filled with substance, drawing inspiration from literature, music, and painting.
Close-Up Performance and Private Dynamic
He also favors presenting dance in more intimate spaces. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has created 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 audacious lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Physical Perception
On Instagram, followers can see clips from his dance films and images that showcase a athletic physique. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his younger self as "desperate for success." Did it met his hopes? "I feel very aware of how life is a separate reality to the aspirations you made as a young person," he reflects. He likely has about ten years of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
