In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his limbs muscular beneath a plain white T-shirt. During performances, ballet dancers can seem like powerful deities, yet often offstage they are petite. This is not true for Ball, whose height is one reason for his demand for heroic characters and pas de deux work. With delicate features and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the company and was advanced annually, attaining the top rank of lead dancer in 2018. He has loved taking on meaty characters, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next starring role is as himself, in an "Evening With" series designed to offer behind-the-scenes perspectives into a dancer's art. He will guide the crowd through a part, showing his mental workflow during execution. Even in lighter works, the test is profound. "Don Quixote is one of the toughest from a skill perspective," he states.
The Psychological Game and After the Show Feelings
How does he feel following a show, when he has pulled it off? "It's pretty good," he admits. "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. After 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. Yet a dance maker previously observed on a "kind of suffering in him." Does this exist? "I am very active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Motivations and Creative Influences
His tenacity originated in early experiences. Not doing well in competitions at school made him "vengeful!" It was motivation to demonstrate 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 recalls.
An upcoming challenge is making his own dance works. In his view, "there's nothing wrong with." "Challenging the conventions is compelling, but just acting 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 loaded with substance, drawing inspiration from literature, compositions, and painting.
Close-Up Performance and Personal Dynamic
He additionally is interested in presenting dance in more intimate 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 realizing: 'That’s a person, and they’re sweating.'"
Ball has made duets 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 daring lift. "It resembled Dirty Dancing." The couple aren’t usually paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Perception
On Instagram, followers can see clips from his projects and photos that highlight a athletic physique. Does he mind that the engagement can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball characterizes his early self as "desperate for success." Did it lived up to his hopes? "I am conscious of how life is a different thing to the aspirations you had as a young person," he reflects. He likely has about ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
