Within the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is naturally upright, his arms defined beneath a simple tee. During performances, ballet dancers can appear like mighty gods, yet frequently in person they are small. Not so Ball, whose tall stature is part of his demand for heroic characters and pas de deux work. With fine traits and intense 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 seamlessly. Raised in Liverpool, he faced minimal teasing for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was promoted each year, attaining the top rank of principal in 2018. He has relished tackling substantial characters, especially the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring role is as himself, in an "In Conversation" series aiming to offer behind-the-scenes insights into a performer's art. He will guide the crowd through a part, showing his mental workflow during execution. Even in lighter works, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Game and After the Show Feelings
How does he feel after a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. Following Mayerling I'm always like: Wow, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. Yet a dance maker once observed on a "sense of suffering in him." Does this exist? "I am very energetic in general, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Drivers and Creative Inspirations
Ball's tenacity originated in youthful experiences. Not doing well in competitions at school made him "vengeful!" It was fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own choreography. For Ball, "organic movement has value." "Breaking the conventions 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 wants his work to be filled with meaning, drawing inspiration from literature, music, and painting.
Close-Up Performance and Personal Partnership
He also is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually paired on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Image
On Instagram, followers can see videos from his projects and photos that showcase a sculpted form. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "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—an object that can be seen on various levels.
Ball characterizes his younger self as "eager for success." Has it lived up to his expectations? "I feel very aware of how life is a separate thing to the dreams you made as a young person," he reflects. He probably has another decade of dancing ahead. "I suppose in the future, I want to be a bit more kind with myself."