In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally upright, his limbs defined beneath a simple white T-shirt. During performances, ballet dancers can seem like powerful deities, yet frequently in person they are petite. This is not true for Ball, whose height is one reason for his popularity for heroic roles and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Top
At 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he encountered minimal ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he graduated straight into the company and was promoted each year, reaching the top rank of principal in 2018. He has relished taking on meaty dramatic roles, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is as himself, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a dancer's craft. He will walk the audience through a part, showing his cognitive workflow during execution. Even in lighter ballets, the challenge is significant. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Struggle and Post-Performance Feelings
How does he feel following 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 immersed in the role, frequently I do feel embarrassed later. Following an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker once observed on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, 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 good change."
Formative Motivations and Artistic Inspirations
His tenacity stemmed from youthful setbacks. Not excelling in competitions at school made him "driven!" This became fuel to prove he could achieve. 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 making his own choreography. In his view, "organic movement has value." "Challenging the rules is interesting, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be filled with meaning, drawing inspiration from books, music, and art.
Intimate Performance and Personal Dynamic
He also is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest cheerleader."
On Social Media and Bodily Image
On social media, followers can see clips from his projects and images that highlight a sculpted physique. Does he mind that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—something that can be seen on various levels.
Ball describes his younger self as "desperate for success." Did it met his hopes? "I am conscious of how reality is a different reality to the aspirations you made as a young person," he muses. He probably has about ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
