Within the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is effortlessly upright, his arms muscular beneath a simple white T-shirt. During performances, dancers can seem as powerful gods, yet frequently offstage they are petite. Not so Ball, whose height is one reason for his demand for heroic characters and pas de deux work. Possessing delicate features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered little teasing for his early 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 principal in 2018. He has loved tackling meaty dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next starring appearance is as himself, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a performer's craft. He will walk the audience through a part, showing his cognitive workflow during execution. Even in more comedic ballets, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Mental Game and Post-Performance Emotions
What about following a show, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, frequently I do feel embarrassed later. Following an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a dance maker once observed on a "sense of suffering in him." Is there? "I am very active in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Drivers and Artistic Influences
Ball's determination stemmed from youthful experiences. Not doing well in competitions at school made him "driven!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is creating 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 wants his work to be loaded with substance, drawing inspiration from books, compositions, and painting.
Close-Up Performance and Private Dynamic
He also favors presenting dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of trust 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 main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Image
On social media, fans can see videos from his dance films and photos that showcase a sculpted physique. Does he care that the response can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball characterizes his younger self as "desperate for success." Has it met his expectations? "I am conscious of how reality is a different thing to the aspirations you made as a child," he reflects. He likely has another decade of dancing left. "I guess in the future, I want to be a bit more gentle with myself."
