Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms defined beneath a plain tee. During performances, ballet dancers can appear like powerful gods, yet often in person they are small. This is not true for Ball, whose height is part of his demand for princely characters and pas de deux work. With fine traits 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 peak of a career that has advanced seamlessly. Raised in Liverpool, he faced little teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved straight into the company and was advanced each year, reaching the highest position of principal in 2018. He has loved taking on substantial characters, 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 upcoming starring appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes insights into a dancer's art. He will walk the crowd through a role, showing his cognitive workflow while execution. Even in lighter ballets, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Struggle and Post-Performance Emotions
How does he feel following a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker once observed on a "sense of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Creative Influences
Ball's determination originated in youthful experiences. Not doing well in contests at school made him "driven!" It was motivation to demonstrate 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 remembers.
The next endeavor is creating his own choreography. For Ball, "organic movement has value." "Challenging the rules is interesting, 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 substance, drawing ideas from books, music, and art.
Intimate Performance and Personal Partnership
He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so near to the viewers. I felt as if they were realizing: '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 evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t typically paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On social media, fans can see videos from his projects and photos that highlight a athletic physique. Does he care that the response can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his younger self as "eager for success." Has it lived up to his expectations? "I feel very aware of how reality is a different reality to the dreams you made as a young person," he reflects. He probably has about ten years of performing left. "I suppose in the future, I want to be a bit more gentle with myself."
