In the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his limbs defined beneath a simple tee. During performances, dancers can seem as mighty gods, yet often offstage they are small. This is not true for Ball, whose tall stature is one reason for his popularity for heroic roles and pas de deux work. With fine features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered little teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was promoted each year, attaining the top rank of principal in 2018. He has loved taking on meaty characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured role is in a talk, in an "In Conversation" series designed to offer intimate insights into a performer's art. He will guide the crowd through a part, showing his mental workflow while performance. Even in more comedic ballets, the test is profound. "A classic ballet is one of the toughest technically," he notes.
The Psychological Struggle and After the Show Feelings
How does he feel after a performance, 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, quite often I do feel embarrassed afterwards. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Is there? "I am very active usually, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Early Drivers and Artistic Influences
His tenacity originated in youthful experiences. Not doing well in competitions at school made him "driven!" It was fuel to demonstrate he could achieve. Reading 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. For Ball, "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 aims his work to be filled with substance, drawing ideas from books, compositions, and painting.
Intimate Dance and Private Dynamic
He additionally is interested in presenting dance in smaller venues. "It was just really exciting," 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 sweating.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite supporter."
On Social Media and Physical Perception
On social media, followers can see clips from his projects and photos that showcase a athletic physique. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "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 seen on various levels.
Ball characterizes his younger self as "eager for success." Has it met his expectations? "I am conscious of how life is a separate reality to the dreams you had as a young person," he reflects. He probably has another ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
