Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his limbs defined beneath a simple tee. On stage, dancers can appear like powerful deities, yet often offstage they are small. Not so Ball, whose height is one reason for his popularity for heroic characters and pas de deux work. With fine traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Entering the Royal Ballet School at 11, he moved straight into the company and was promoted annually, reaching the highest position of principal in 2018. He has relished tackling meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured role is as himself, in an "In Conversation" event aiming to offer intimate perspectives into a performer's craft. He will walk the crowd through a part, showing his cognitive process while execution. Even in lighter works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Game and After the Show Emotions
What about after a show, when he has succeeded? "It's pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed afterwards. After an intense role I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I'm quite active usually, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Motivations and Artistic Influences
Ball's tenacity stemmed from early setbacks. Not doing well in competitions at school made him "driven!" This became fuel to demonstrate 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 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 wants his work to be filled with substance, drawing ideas from literature, music, and painting.
Intimate Performance and Private Dynamic
He also favors staging dance in more intimate venues. "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 created pieces with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually paired 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 Physical Image
On Instagram, fans can see videos from his projects and images that showcase a sculpted form. Does he care that the engagement can be a bit objectifying? 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—an object that can be seen on various levels.
Ball describes his early self as "eager for success." Has it lived up to his expectations? "I am conscious of how reality is a separate thing to the dreams you had as a child," he reflects. He probably has another decade of dancing left. "I suppose in the future, I want to be a bit more kind with myself."
