In the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally upright, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can appear as mighty deities, yet often in person they are petite. Not so Ball, whose height is one reason for his popularity for princely roles and pas de deux work. Possessing fine traits and intense eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced minimal ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the troupe and was advanced each year, reaching the top rank of principal in 2018. He has relished taking on meaty dramatic roles, particularly the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured role is in a talk, in an "Evening With" event aiming to offer behind-the-scenes insights into a dancer's art. He will walk the audience through a role, demonstrating his cognitive process while execution. Even in lighter ballets, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Game and Post-Performance Feelings
How does he feel following a show, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Drivers and Artistic Inspirations
Ball's determination originated in youthful experiences. Not doing well in competitions at school made him "vengeful!" This became fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming endeavor is creating his own choreography. In his view, "organic movement has value." "Breaking the conventions is interesting, but just acting that they’re not a thing 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 Dance and Private Partnership
He also is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t typically matched on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On Instagram, fans can see clips from his dance films and photos that showcase a athletic physique. Does he care 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 seeing Michelangelo’s David—an object that can be seen on various ways.
Ball describes his early self as "desperate for success." Has it met his expectations? "I am conscious of how life is a different reality to the dreams you had as a child," he muses. He probably has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
