Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally upright, his limbs muscular beneath a plain white T-shirt. During performances, dancers can appear like powerful gods, yet often offstage they are small. This is not true for Ball, whose tall stature is part of his demand for princely characters and partnering. With delicate features and piercing eyes, there's a hint 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 seamlessly. Raised in Liverpool, he encountered minimal ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was promoted annually, attaining the highest position of principal in 2018. He has relished taking on meaty dramatic roles, especially the emotional turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring role is as himself, in an "In Conversation" event designed to offer intimate insights into a dancer's art. He will guide the crowd through a part, demonstrating his mental process while performance. Yet in more comedic works, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Struggle and Post-Performance Feelings
What about after a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel self-conscious later. Following Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Does this exist? "I am very active in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Drivers and Creative Influences
Ball's determination stemmed from youthful setbacks. Not doing well in contests at school made him "vengeful!" It was motivation to prove 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 creating his own choreography. In his view, "organic movement has value." "Breaking the conventions is compelling, 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 loaded with meaning, drawing inspiration from books, music, and art.
Close-Up Performance and Personal Partnership
He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually paired on stage at their main theater, which is perhaps healthy. "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 supporter."
On Social Media and Bodily Image
On social media, fans can see clips from his projects and photos that showcase a athletic physique. Does he care that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to seeing Michelangelo’s David—an object that can be seen on various ways.
Ball describes his early self as "eager for success." Did it met his hopes? "I feel very aware of how life is a separate reality to the dreams you had as a young person," he muses. He likely has about ten years of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
