Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally upright, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can seem like mighty deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. Possessing fine features and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced little ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was promoted annually, attaining the highest position of principal in 2018. He has relished tackling meaty characters, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is in a talk, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's art. He will guide the crowd through a role, demonstrating his cognitive workflow during execution. Even in more comedic works, the test is profound. "A classic ballet is one of the toughest technically," he notes.
The Psychological Struggle and Post-Performance Emotions
What about after a performance, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, quite often I do feel embarrassed later. After Mayerling I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Does this exist? "I'm quite active 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 catalyst for positive change."
Formative Motivations and Creative Inspirations
Ball's determination originated in early experiences. Not excelling in contests at school made him "driven!" This became motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming challenge is making his own choreography. In his view, "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 loaded with meaning, drawing ideas from literature, music, and art.
Intimate Performance and Private Dynamic
He also favors staging dance in smaller venues. "It was just really exciting," he says of a previous show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made duets with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They aren’t typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Image
On Instagram, fans can see clips from his dance films and photos that showcase a athletic form. Does he care that the engagement can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his younger self as "eager for success." Did it met his expectations? "I am conscious of how reality is a separate thing to the dreams you made as a young person," he reflects. He probably has another decade of performing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
