In the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his limbs defined beneath a plain white T-shirt. During performances, dancers can seem as mighty deities, yet often in person they are petite. Not so Ball, whose height is one reason for his popularity for heroic characters and partnering. Possessing delicate traits and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the troupe and was promoted annually, reaching the top rank of principal in 2018. He has loved tackling substantial dramatic roles, particularly the emotional angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is in a talk, in an "In Conversation" series aiming to offer intimate perspectives into a performer's art. He will guide the audience through a part, demonstrating his cognitive workflow while execution. Yet in lighter ballets, the challenge is significant. "Don Quixote is one of the toughest technically," he states.
The Mental Struggle and After the Show Feelings
What about after a show, when he has succeeded? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. Following Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Creative Influences
Ball's tenacity originated in youthful setbacks. Not doing well in contests at school made him "driven!" This became motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own choreography. In his view, "there's nothing wrong with." "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 inspiration from literature, compositions, and painting.
Intimate Performance and Private Partnership
He additionally favors staging dance in more intimate spaces. "It was just really exciting," he says of a past experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, 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." The couple are not typically matched 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. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On Instagram, fans can see videos from his dance films and photos that showcase a sculpted physique. Does he mind that the engagement can be a bit focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his early self as "desperate for success." Did it met his hopes? "I am conscious of how reality is a separate reality to the dreams you had as a young person," he muses. He likely has about ten years of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
