Within the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his limbs muscular beneath a simple white T-shirt. During performances, ballet dancers can appear like powerful deities, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is part of his popularity for princely roles and partnering. With delicate traits and intense eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was promoted annually, reaching the highest position of principal in 2018. He has loved taking on meaty dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring role is as himself, in an "Evening With" series designed to offer behind-the-scenes insights into a dancer's art. He will walk the audience through a role, demonstrating his mental process while execution. Even in more comedic works, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel following a performance, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to extract all the juice out of it, and get immersed in the character, frequently I do feel embarrassed later. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Early Drivers and Artistic Influences
Ball's determination originated in youthful experiences. Not excelling in competitions at school made him "driven!" This became motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next challenge is making his own dance works. For Ball, "organic movement has value." "Breaking the rules is compelling, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be filled with substance, drawing inspiration from literature, compositions, and art.
Close-Up Dance and Personal Dynamic
He additionally is interested in staging dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so near 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 level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not usually paired on stage at their main theater, which is perhaps beneficial. "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."
Regarding Instagram and Physical Perception
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 a bit objectifying? 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 viewing Michelangelo’s David—something that can be seen on multiple ways.
Ball characterizes his younger self as "desperate for success." Did it met his hopes? "I feel very aware of how reality is a different reality to the dreams you made as a child," he reflects. He likely has another ten years of dancing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."