In the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his arms defined beneath a plain white T-shirt. On stage, dancers can appear as powerful gods, yet often in person they are petite. Not so Ball, whose height is one reason for his popularity for heroic roles and partnering. With fine traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced little teasing for his early interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was advanced annually, reaching the top rank of principal in 2018. He has relished taking on substantial characters, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is in a talk, in an "In Conversation" series designed to offer intimate perspectives into a dancer's art. He will guide the crowd through a part, demonstrating his mental process while performance. Even in more comedic works, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Game and Post-Performance Feelings
How does he feel after a show, when he has succeeded? "It's pretty good," he says. "But because I'm trying to extract all the emotion out of it, and get lost in the character, quite often I do feel self-conscious afterwards. Following Mayerling I'm always like: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker previously observed 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 somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Creative Influences
His determination originated in youthful setbacks. Not excelling in competitions at school made him "vengeful!" It was fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next challenge is creating his own choreography. For Ball, "there's nothing wrong with." "Challenging the rules is compelling, but just acting 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 books, compositions, and art.
Close-Up Performance and Personal 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 near to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their home company, which is perhaps 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."
Regarding Instagram and Bodily Image
On social media, followers can see clips from his dance films and photos that showcase a sculpted form. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on various ways.
Ball describes his younger self as "eager for success." Did it lived up to his hopes? "I feel very aware of how reality is a separate thing to the dreams you made as a young person," he muses. He probably has another decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
