Within the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is naturally upright, his arms muscular beneath a simple tee. During performances, ballet dancers can seem like powerful gods, yet frequently offstage they are small. Not so Ball, whose tall stature is one reason for his popularity for princely characters and partnering. With fine features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was advanced each year, reaching the highest position of principal in 2018. He has loved tackling meaty characters, particularly the psychological angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a part, showing his cognitive process while execution. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Psychological Struggle and After the Show Emotions
What about following a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get immersed in the role, quite often I do feel self-conscious afterwards. After an intense role I'm always like: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Drivers and Artistic Influences
Ball's determination stemmed from youthful setbacks. Not doing well in contests at school made him "driven!" This became fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is creating his own choreography. For Ball, "organic movement has value." "Breaking the conventions is compelling, but just acting 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 loaded with meaning, drawing inspiration from books, music, and painting.
Close-Up Dance and Private Partnership
He also favors presenting dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created duets 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 audacious lift. "It resembled Dirty Dancing." They are not typically matched 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 biggest cheerleader."
Regarding Instagram and Bodily Perception
On Instagram, followers can see clips from his projects and images that highlight a athletic physique. Does he care that the engagement can be a bit objectifying? 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 viewing Michelangelo’s David—an object that can be seen on various ways.
Ball describes his early self as "eager for success." Has it lived up to his expectations? "I am conscious of how life is a separate thing to the dreams you made as a child," he reflects. He probably has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
