In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is effortlessly straight-backed, his arms defined beneath a simple white T-shirt. During performances, ballet dancers can seem as powerful deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and partnering. With delicate traits and intense eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Raised in Liverpool, he faced little ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he moved directly into the troupe and was promoted annually, reaching the highest position of principal in 2018. He has relished taking on substantial dramatic roles, especially the emotional turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is in a talk, in an "In Conversation" event aiming to offer intimate insights into a performer's craft. He will guide the audience through a role, demonstrating his cognitive workflow while execution. Even in lighter ballets, the test is significant. "A classic ballet is one of the most demanding technically," he notes.
The Mental Game and Post-Performance Emotions
What about following a show, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed afterwards. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a choreographer once remarked on a "kind of suffering in him." Does this exist? "I am very active in general, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Drivers and Artistic Inspirations
His determination originated in early experiences. Not doing well in contests at school made him "driven!" It was fuel 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 fanatical," he recalls.
The next endeavor is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is compelling, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be loaded with meaning, drawing ideas from books, compositions, and art.
Intimate Dance and Private Dynamic
He additionally is interested in presenting dance in more intimate venues. "It was just really exciting," he says of a previous show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Image
On social media, followers can see clips from his dance films and images that highlight a athletic form. Does he care that the engagement can be somewhat objectifying? Not really. "The body is just what we work with, 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 describes his early self as "eager for success." Has it met his expectations? "I feel very aware of how reality is a different reality to the dreams you made as a child," he reflects. He likely has about ten years of performing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
