In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his arms muscular beneath a plain white T-shirt. On stage, dancers can seem as mighty deities, yet often offstage they are small. This is not true for Ball, whose height is part of his popularity for heroic roles and pas de deux work. Possessing fine features and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was promoted annually, reaching the highest position of principal in 2018. He has loved taking on meaty characters, especially the emotional turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring role is in a talk, in an "Evening With" event designed to offer behind-the-scenes insights into a dancer's craft. He will walk the audience through a role, demonstrating his cognitive workflow during execution. Even in more comedic ballets, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Mental Game and Post-Performance Feelings
How does he feel following a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. Following Mayerling I'm always like: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Artistic Influences
His tenacity stemmed from early setbacks. Not doing well in competitions at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next challenge is making his own dance works. In his view, "organic movement has value." "Breaking the conventions 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 inspiration from literature, music, and painting.
Close-Up Performance and Private Dynamic
He additionally is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a past experience. "You’re so close 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 trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t typically paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On Instagram, followers can see clips from his projects and photos that showcase a athletic physique. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to seeing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball characterizes his younger self as "eager for success." Has it lived up to his hopes? "I feel very aware of how reality is a different reality to the dreams you made as a child," he muses. He likely has another ten years of dancing left. "I guess in the time to come, I want to be a bit more kind with myself."
