Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs defined beneath a plain white T-shirt. On stage, ballet dancers can seem as mighty deities, yet often offstage they are petite. This is not true for Ball, whose height is part of his popularity for heroic characters and partnering. Possessing fine traits and piercing 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 progressed smoothly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the company and was promoted each year, reaching the top rank of principal in 2018. He has loved tackling substantial characters, especially the emotional turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a performer's art. He will guide the audience through a part, demonstrating his cognitive process during execution. Even in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.
The Mental Struggle and Post-Performance Feelings
How does he feel after a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously observed 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 doubt has been an instigator for good change."
Early Motivations and Artistic Inspirations
His tenacity stemmed from youthful experiences. Not doing well in contests at school made him "driven!" It was motivation to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next challenge is creating his own choreography. For Ball, "there's nothing wrong with." "Breaking 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 substance, drawing inspiration from books, compositions, and painting.
Close-Up Performance and Private Partnership
He also is interested in staging dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They are not usually paired on stage at their main theater, which might be healthy. "We’re both quite determined 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 Physical Image
On social media, followers can see videos from his dance films and photos that showcase a athletic form. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we use, 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 multiple ways.
Ball characterizes his younger self as "eager for success." Did it lived up to his hopes? "I feel very aware of how reality is a separate reality to the aspirations you had as a young person," he reflects. He probably has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
