In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a simple tee. During performances, ballet dancers can appear like powerful deities, yet often in person they are petite. This is not true for Ball, whose height is part of his popularity for princely roles and partnering. 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 enjoying the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little ridicule for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was advanced annually, reaching the top rank of principal in 2018. He has relished taking on substantial characters, particularly the emotional turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured role is as himself, in an "Evening With" series designed to offer intimate insights into a dancer's craft. He will guide the crowd through a part, demonstrating his cognitive workflow while execution. Yet in lighter ballets, the challenge is significant. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Struggle and Post-Performance Feelings
What about following a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get lost in the character, quite often I do feel self-conscious afterwards. Following an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker previously remarked on a "kind of suffering in him." Is there? "I am very active usually, 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."
Early Motivations and Creative Inspirations
His tenacity stemmed from youthful experiences. Not doing well in contests at school made him "vengeful!" This became motivation to demonstrate he could achieve. Discovering 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 making his own dance works. For Ball, "there's nothing wrong with." "Breaking the rules is compelling, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be filled with substance, drawing ideas from books, compositions, and painting.
Close-Up Performance and Private Dynamic
He also is interested in staging dance in more intimate spaces. "It was just really exciting," he says of a past experience. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Image
On social media, fans can see clips from his dance films and images that showcase a sculpted physique. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his younger self as "desperate for success." Did it lived up to his expectations? "I am conscious of how reality is a different thing to the aspirations you had as a young person," he reflects. He probably has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
