In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his arms muscular beneath a simple tee. During performances, dancers can appear as powerful gods, yet often in person they are petite. Not so Ball, whose height is part of his popularity for heroic characters and pas de deux work. Possessing fine traits and intense eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Top
At 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced minimal ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he graduated directly into the company and was advanced each year, attaining the top rank of principal in 2018. He has relished tackling substantial characters, especially the psychological turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will guide the crowd through a role, demonstrating his cognitive workflow while execution. Even in lighter works, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Psychological Game and Post-Performance Emotions
What about after a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get lost in the character, quite often I do feel embarrassed afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Is there? "I'm quite energetic in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Drivers and Creative Inspirations
His determination stemmed from early experiences. Not excelling in competitions at school made him "driven!" This became fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own choreography. In his view, "organic movement has value." "Challenging the conventions is compelling, but just pretending 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 loaded with meaning, drawing inspiration from books, compositions, and painting.
Close-Up Performance and Private Dynamic
He also is interested in presenting dance in smaller 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 realizing: 'That’s a person, and they’re perspiring.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They are not typically matched on stage at their home company, which might be 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 biggest supporter."
Regarding Instagram and Physical Image
On social media, followers can see videos from his dance films and images that highlight a sculpted form. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be seen on multiple ways.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how reality is a separate thing to the dreams you had as a young person," he reflects. He likely has about ten years of performing left. "I guess in the future, I want to be a bit more kind with myself."
