In the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his arms defined beneath a simple white T-shirt. During performances, dancers can seem as powerful deities, yet often offstage they are petite. Not so Ball, whose height is part of his popularity for princely roles and partnering. With delicate features and intense eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the Royal Ballet School at 11, he moved directly into the troupe and was advanced each year, attaining the top rank of lead dancer in 2018. He has relished taking on substantial characters, particularly the emotional turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next starring appearance is as himself, in an "In Conversation" series aiming to offer intimate insights into a dancer's craft. He will guide the audience through a part, demonstrating his cognitive workflow while execution. Even in lighter works, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.
The Mental Struggle and Post-Performance Feelings
How does he feel after a performance, when he has succeeded? "It's pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get lost in the role, quite often I do feel embarrassed afterwards. After Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Early Drivers and Creative Influences
His tenacity originated in early experiences. Not excelling in contests at school made him "driven!" It was fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is creating his own choreography. In his view, "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 literature, compositions, and painting.
Close-Up Performance and Personal Dynamic
He additionally favors staging dance in smaller spaces. "It was just really exciting," he says of a previous 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 pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They 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 biggest supporter."
On Social Media and Bodily Perception
On social media, fans can see videos from his projects and images that showcase a athletic form. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be interpreted on various ways.
Ball describes his younger self as "eager for success." Did it met his hopes? "I am conscious of how reality is a separate reality to the dreams you made as a child," he muses. He likely has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
