In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally upright, his arms muscular beneath a simple tee. During performances, dancers can appear like mighty deities, yet often offstage they are small. This is not true for Ball, whose tall stature is part of his demand for heroic characters and pas de deux work. Possessing delicate features and intense eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted annually, attaining the highest position of principal in 2018. He has loved tackling meaty characters, particularly the psychological turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring role is in a talk, in an "In Conversation" event designed to offer intimate perspectives into a dancer's craft. He will guide the audience through a part, showing his mental process during execution. Yet in more comedic ballets, the test is profound. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Mental Struggle and Post-Performance Feelings
How does he feel following a performance, when he has succeeded? "It's pretty good," he says. "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 later. Following Mayerling I'm always thinking: God, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But 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 kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Creative Influences
His determination stemmed from youthful experiences. Not excelling in contests at school made him "driven!" This became motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Breaking 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 filled with meaning, drawing inspiration from books, compositions, and painting.
Intimate Dance and Private Dynamic
He additionally is interested in staging dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," 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 determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Image
On social media, followers can see clips from his projects and images that highlight a athletic physique. Does he care that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be seen on various levels.
Ball describes his younger self as "eager for success." Has it lived up to his hopes? "I feel very aware of how reality is a separate thing to the aspirations you made as a child," he muses. He likely has another decade of dancing left. "I guess in the time to come, I want to be a bit more gentle with myself."
