In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is naturally upright, his arms defined beneath a simple white T-shirt. During performances, ballet dancers can appear like powerful deities, yet often in person they are petite. This is not true for Ball, whose height is part of his demand for princely roles and partnering. Possessing delicate traits and intense eyes, there's a touch 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. Raised in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted each year, attaining the highest position of principal in 2018. He has loved taking on substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" series aiming to offer intimate perspectives into a performer's art. He will walk the crowd through a part, demonstrating his mental workflow during execution. Yet in lighter works, the test is profound. "A classic ballet is one of the most demanding technically," he states.
The Psychological Game and Post-Performance Feelings
How does he feel after a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. Following an intense role I'm always like: God, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. Yet a dance maker once observed on a "kind of suffering in him." Is there? "I'm quite energetic 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 instigator for positive change."
Formative Drivers and Creative Influences
Ball's tenacity originated in youthful experiences. Not doing well in competitions at school made him "driven!" It was motivation 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 fanatical," he remembers.
An upcoming challenge is making his own choreography. In his view, "there's nothing wrong with." "Challenging 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 literature, music, 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 previous show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They are not usually matched on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Physical Perception
On Instagram, fans can see videos from his projects and images that highlight a athletic form. Does he mind that the engagement can be a bit objectifying? 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 seeing Michelangelo’s David—an object that can be seen on various levels.
Ball characterizes his younger self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how reality is a different reality to the aspirations you made as a young person," he reflects. He likely has about ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
