Within the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can appear as mighty gods, yet often in person they are petite. This is not true for Ball, whose height is part of his popularity for heroic characters and pas de deux work. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is enjoying the peak of a career that has progressed smoothly. Raised in Liverpool, he encountered little ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was promoted annually, reaching the highest position of principal in 2018. He has loved taking on meaty characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next featured appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's art. He will guide the crowd through a role, showing his cognitive process during execution. Yet in more comedic works, the test is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Struggle and After the Show Emotions
How does he feel after a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get lost in the character, frequently I do feel self-conscious later. After Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I'm quite active in general, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Motivations and Artistic Inspirations
His determination originated in early setbacks. Not excelling in competitions at school made him "driven!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next challenge is creating his own dance works. For Ball, "organic movement has value." "Challenging the conventions 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 wants his work to be filled with substance, drawing inspiration from literature, compositions, and art.
Close-Up Dance and Personal Dynamic
He also favors staging dance in more intimate spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Bodily Perception
On social media, followers can see videos from his projects and images that showcase a sculpted physique. Does he care that the engagement can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his early self as "eager for success." Has it lived up to his expectations? "I feel very aware of how reality is a different reality to the dreams you made as a young person," he muses. He probably has another decade of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."
