In the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs defined beneath a simple tee. On stage, ballet dancers can seem as mighty gods, 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 pas de deux work. With fine features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Top
Now 31, Ball is enjoying the peak of a career that has advanced seamlessly. Growing up in Liverpool, he faced minimal teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was advanced each year, attaining the highest position of principal in 2018. He has relished tackling substantial characters, especially the psychological angst found in Kenneth MacMillan'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 "In Conversation" series aiming to offer intimate insights into a dancer's craft. He will walk the audience through a role, demonstrating his cognitive process while execution. Even in lighter works, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Struggle and After the Show Feelings
How does he feel after a performance, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get lost in the character, quite often I do feel embarrassed afterwards. After an intense role I'm always like: 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." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Motivations and Creative Inspirations
Ball's tenacity originated in youthful setbacks. Not excelling in contests at school made him "driven!" It was motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is creating his own choreography. For Ball, "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 wants his work to be loaded with meaning, drawing inspiration from literature, music, and painting.
Intimate Dance and Private Dynamic
He also is interested in staging dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not typically matched 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 biggest supporter."
On Social Media and Bodily Perception
On Instagram, followers can see clips from his dance films and photos that showcase a athletic form. Does he mind that the engagement can be somewhat objectifying? Not really. "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—something that can be interpreted on multiple ways.
Ball describes his younger self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how reality is a different reality to the aspirations you made as a child," he reflects. He probably has about ten years of performing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
