In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his limbs muscular beneath a simple tee. On stage, dancers can appear as powerful gods, yet often offstage they are small. This is not true for Ball, whose height is one reason for his demand for princely roles and pas de deux work. With delicate features and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Top
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced little ridicule for his early passion in ballet. Joining the Royal Ballet School at 11, he moved straight into the troupe and was advanced annually, attaining the top rank of principal in 2018. He has loved taking on substantial characters, especially the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will guide the crowd through a part, demonstrating his cognitive workflow during performance. Yet in lighter ballets, the challenge is profound. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Game and After the Show Emotions
What about after a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious later. Following Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Does this exist? "I am very active in general, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Drivers and Artistic Influences
Ball's determination originated in youthful setbacks. Not excelling in contests at school made him "driven!" This became motivation to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next endeavor is creating his own choreography. For Ball, "there's nothing wrong with." "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 wants his work to be filled with substance, drawing inspiration from books, music, and painting.
Close-Up Performance and Private Dynamic
He additionally favors presenting dance in more intimate venues. "It was just really thrilling," he says of a past experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple are not usually paired on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Image
On Instagram, fans can see clips from his dance films and photos that showcase a sculpted physique. Does he mind that the response can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his younger self as "eager for success." Has it lived up to his expectations? "I am conscious of how reality is a different thing to the aspirations you had as a child," he muses. He likely has about ten years of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."
