In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is naturally upright, his limbs defined beneath a simple white T-shirt. On stage, ballet dancers can seem as powerful gods, yet often in person they are small. Not so Ball, whose tall stature is one reason for his demand for heroic characters and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered little ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he moved directly into the troupe and was promoted each year, attaining the top rank of principal in 2018. He has loved taking on substantial dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is in a talk, in an "In Conversation" series designed to offer intimate perspectives into a performer's craft. He will walk the crowd through a part, showing his cognitive workflow while execution. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Struggle and After the Show Emotions
How does he feel after a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Is there? "I'm quite energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Artistic Inspirations
Ball's determination originated in early setbacks. Not doing well in contests at school made him "vengeful!" It was fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming endeavor is making his own dance works. For Ball, "organic movement has value." "Breaking 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 wants his work to be loaded with substance, drawing inspiration from books, compositions, and painting.
Intimate Dance and Personal Dynamic
He also favors presenting dance in more intimate venues. "It was just really exciting," he says of a past show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made duets 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 audacious lift. "It was like Dirty Dancing." They are not typically matched on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Physical Image
On social media, followers can see videos from his dance films and images that showcase a sculpted physique. Does he care that the engagement can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his younger self as "desperate for success." Has it lived up to his expectations? "I feel very aware of how reality is a different reality to the dreams you had as a child," he reflects. He probably has about ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
