Within the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is effortlessly upright, his limbs muscular beneath a simple white T-shirt. During performances, dancers can appear as powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose height is one reason for his popularity for princely roles and pas de deux work. With delicate features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he faced minimal teasing for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the company and was promoted annually, attaining the highest position of principal in 2018. He has loved taking on meaty characters, particularly the psychological turmoil found in Kenneth MacMillan's works.
"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" series designed to offer behind-the-scenes insights into a dancer's art. He will walk the crowd through a part, showing his cognitive workflow during performance. Yet in lighter works, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Mental Game and Post-Performance Emotions
How does he feel following a performance, when he has succeeded? "It's pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. Following an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Drivers and Artistic Influences
His tenacity originated in early setbacks. Not doing well in contests at school made him "vengeful!" This became fuel 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 fanatical," he remembers.
The next endeavor is creating his own dance works. In his view, "there's nothing wrong with." "Breaking the conventions 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 aims his work to be filled with meaning, drawing ideas from literature, music, and painting.
Close-Up Dance and Personal Partnership
He also favors staging dance in more intimate venues. "It was just really exciting," he says of a previous show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Physical Image
On social media, followers can see clips from his dance films and photos that highlight a sculpted physique. Does he mind 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 protective about it," he states. He compares it to viewing Michelangelo’s David—an object that can be seen on multiple levels.
Ball characterizes his younger self as "eager for success." Did it lived up to his expectations? "I am conscious of how reality is a separate reality to the aspirations you made as a young person," he reflects. He probably has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
