Within the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms muscular beneath a plain tee. During performances, ballet dancers can appear as powerful gods, yet frequently in person they are petite. Not so Ball, whose tall stature is part of his popularity for heroic roles and pas de deux work. With delicate traits and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated straight into the company and was advanced annually, reaching the highest position of principal in 2018. He has loved tackling substantial dramatic roles, particularly the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, 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 designed to offer intimate perspectives into a performer's art. He will guide the crowd through a part, showing his mental workflow during execution. Even in lighter ballets, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Struggle and After the Show Emotions
What about after a performance, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to extract all the emotion out of it, and get immersed in the role, quite often I do feel self-conscious later. After Mayerling I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Is there? "I am very active in general, but I do have a dark side," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."
Formative Drivers and Artistic Influences
His tenacity originated in early experiences. Not excelling in competitions at school made him "driven!" It was motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging the rules is interesting, 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 filled with meaning, drawing inspiration from books, compositions, and painting.
Intimate Performance and Personal Partnership
He additionally is interested in staging dance in more intimate venues. "It was just really exciting," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically matched on stage at their home company, which is perhaps beneficial. "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."
Regarding Instagram and Bodily Perception
On Instagram, followers can see clips from his dance films and photos that showcase a sculpted form. Does he mind that the engagement can be a bit focused on appearance? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to seeing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball describes his early self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how reality is a different reality to the aspirations you made as a child," he muses. He probably has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
