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 muscular beneath a simple tee. During performances, ballet dancers can appear like mighty gods, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is one reason for his popularity for princely characters and partnering. With fine features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he encountered little teasing for his early passion in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has relished tackling meaty characters, particularly the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will walk the audience through a role, demonstrating his mental process while performance. Yet in more comedic ballets, the challenge is significant. "A classic ballet is one of the toughest technically," he states.
The Psychological Game and Post-Performance Emotions
How does he feel following a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get lost in the character, frequently I do feel embarrassed later. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a dance maker once observed on a "sense of suffering in him." Is there? "I'm quite energetic usually, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Motivations and Artistic Influences
Ball's determination stemmed from youthful experiences. Not doing well in competitions at school made him "vengeful!" It was fuel to prove 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 challenge is creating his own choreography. For Ball, "organic movement has value." "Breaking the rules 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 aims his work to be filled with substance, drawing inspiration from literature, compositions, and art.
Intimate Performance and Personal Dynamic
He also favors presenting dance in more intimate venues. "It was just really exciting," he says of a previous show. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually matched on stage at their main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Perception
On social media, followers can see videos from his projects and images that highlight a sculpted form. Does he care that the engagement can be a bit focused on appearance? Not really. "The body is just what we work with, 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 "desperate for success." Has it lived up to his hopes? "I am conscious of how reality is a different thing to the dreams you had as a young person," he muses. He probably has another ten years of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
