In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is effortlessly upright, his arms defined beneath a simple white T-shirt. During performances, ballet dancers can seem like mighty deities, yet often offstage they are petite. Not so Ball, whose tall stature is part of his demand for princely characters and pas de deux work. With delicate traits and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he encountered minimal teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was advanced annually, attaining the highest position of principal in 2018. He has loved taking on substantial dramatic roles, especially the emotional turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is in a talk, in an "Evening With" event designed to offer intimate insights into a dancer's art. He will guide the audience through a role, showing his cognitive process during performance. Even in more comedic ballets, the test is profound. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Struggle and Post-Performance Emotions
What about following a performance, when he has pulled it off? "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, frequently I do feel embarrassed later. After an intense role I'm always like: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker once remarked on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Artistic Influences
His determination originated in early experiences. Not doing well in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Breaking 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 aims his work to be filled with meaning, drawing ideas from literature, compositions, and painting.
Intimate Performance and Personal Partnership
He also is interested in staging dance in smaller spaces. "It was just really exciting," he says of a previous show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically paired on stage at their home company, which might be 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 cheerleader."
Regarding Instagram and Bodily Perception
On social media, fans can see videos from his dance films and photos that showcase a sculpted form. Does he mind that the engagement can be somewhat objectifying? Not really. "The body is just what we use, 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 multiple levels.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a separate thing to the dreams you made as a young person," he reflects. He likely has about decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
