In the hushed 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 defined beneath a simple white T-shirt. During performances, ballet dancers can appear as mighty gods, yet frequently offstage they are small. Not so Ball, whose tall stature is one reason for his demand for heroic characters and pas de deux work. With fine traits and intense eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced little teasing for his childhood passion in ballet. Entering 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 taking on substantial dramatic roles, especially the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is in a talk, in an "In Conversation" event designed to offer behind-the-scenes insights into a performer's art. He will guide the audience through a role, showing his cognitive process while execution. Even in lighter ballets, the test is profound. "Don Quixote is one of the toughest technically," he notes.
The Mental Struggle and After the Show Feelings
What about following a show, when he has succeeded? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed later. Following Mayerling 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 "kind of suffering in him." Is there? "I'm quite active in general, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Motivations and Creative Inspirations
Ball's determination stemmed from youthful setbacks. Not doing well in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own choreography. In his view, "organic movement has value." "Challenging the rules is interesting, but just pretending 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 filled with substance, drawing ideas from books, music, and painting.
Close-Up Performance and Personal Dynamic
He additionally is interested in staging dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t typically matched on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, fans can see videos from his dance films and photos that showcase a sculpted physique. Does he care that the response 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 states. He compares it to seeing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his early self as "desperate for success." Has it met his expectations? "I feel very aware of how reality is a different reality to the dreams you had as a young person," he reflects. He likely has another decade of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
