Within the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his limbs muscular beneath a simple white T-shirt. During performances, ballet dancers can seem as powerful deities, yet often in person they are petite. Not so Ball, whose height is part of his demand for heroic roles and pas de deux work. Possessing fine traits 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 progressed seamlessly. Raised in Liverpool, he faced minimal teasing for his early passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was promoted each year, attaining the top rank of principal in 2018. He has relished tackling substantial dramatic roles, especially the emotional angst found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured role is in a talk, in an "Evening With" series aiming to offer behind-the-scenes perspectives into a dancer's craft. He will guide the crowd through a role, demonstrating his cognitive process while performance. Even in lighter works, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Struggle and After the Show Emotions
What about after a performance, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, quite often I do feel embarrassed afterwards. After an intense role I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I am very active usually, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Drivers and Creative Influences
His determination originated in youthful setbacks. Not excelling in contests at school made him "vengeful!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming challenge is creating his own choreography. For Ball, "organic movement has value." "Challenging the rules is interesting, 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 ideas from literature, music, and painting.
Close-Up Performance and Private Dynamic
He additionally is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a previous show. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not typically paired on stage at their home company, which might be healthy. "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."
On Social Media and Bodily Image
On social media, followers can see clips from his projects and photos that highlight a sculpted form. Does he care that the engagement can be a bit 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 younger self as "eager for success." Has it lived up to his hopes? "I feel very aware of how life is a separate reality to the aspirations you had as a child," he reflects. He likely has about ten years of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
