Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is naturally upright, his arms muscular beneath a simple white T-shirt. During performances, dancers can seem like powerful gods, yet often offstage they are petite. Not so Ball, whose height is part of his popularity for princely roles and pas de deux work. Possessing fine traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the company and was promoted each year, reaching the highest position of principal in 2018. He has loved taking on substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's craft. He will guide the audience through a role, demonstrating his cognitive process while execution. Yet in lighter ballets, the challenge is profound. "Don Quixote is one of the toughest from a skill perspective," he states.
The Mental Struggle and Post-Performance Feelings
How does he feel after a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. After an intense role I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Drivers and Artistic Influences
Ball's determination originated in early setbacks. Not doing well in competitions at school made him "vengeful!" This became fuel 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 recalls.
The next endeavor is creating his own dance works. In his view, "organic movement has value." "Challenging the conventions is compelling, but just acting 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 substance, drawing inspiration from literature, compositions, and art.
Close-Up Dance and Private Partnership
He additionally is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a previous show. "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 duets with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a daring 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 notes. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Image
On Instagram, followers can see clips from his dance films and images that highlight a athletic form. Does he care that the response can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his younger self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how life is a different reality to the dreams you had as a child," he reflects. He likely has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
