In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his arms defined beneath a plain white T-shirt. On stage, ballet dancers can appear as powerful gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is one reason for his demand for heroic roles and partnering. Possessing fine features and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Top
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he faced little ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has loved taking on meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is as himself, in an "In Conversation" series aiming to offer intimate insights into a performer's craft. He will guide the audience through a part, showing his cognitive process while execution. Even in lighter works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Game and After the Show Emotions
How does he feel following a performance, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel embarrassed afterwards. After Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Motivations and Artistic Inspirations
His determination stemmed from early experiences. Not doing well in contests at school made him "vengeful!" It was motivation to prove he could succeed. Reading 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 making his own choreography. For Ball, "organic movement has value." "Challenging the rules 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 loaded with meaning, drawing inspiration from books, music, and art.
Intimate Performance and Private Partnership
He additionally is interested in presenting dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t usually paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Perception
On Instagram, fans can see clips from his dance films and photos that showcase a sculpted physique. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—something that can be seen on multiple ways.
Ball describes his younger self as "eager for success." Has it met his hopes? "I am conscious of how life is a separate reality to the dreams you had as a young person," he muses. He probably has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
