In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his arms muscular beneath a simple tee. During performances, dancers can appear as powerful deities, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. With delicate features and intense eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has relished tackling substantial dramatic roles, particularly the psychological angst found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is in a talk, in an "In Conversation" event designed to offer intimate insights into a dancer's craft. He will guide the crowd through a part, demonstrating his mental workflow while performance. Yet in lighter works, the challenge is significant. "Don Quixote is one of the toughest technically," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel following a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed later. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Artistic Inspirations
His determination originated in youthful experiences. Not doing well in competitions 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 flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming challenge is creating his own dance works. For Ball, "there's nothing wrong with." "Breaking the conventions is compelling, but just pretending 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, compositions, and art.
Intimate Performance and Private Dynamic
He also favors staging dance in smaller venues. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They aren’t typically paired on stage at their main theater, which is perhaps 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."
Regarding Instagram and Physical Image
On social media, followers can see clips from his dance films and images that showcase a athletic form. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his younger self as "eager for success." Did it met his hopes? "I feel very aware of how life is a different reality to the aspirations you had as a young person," he reflects. He probably has about ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
