In the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms muscular beneath a plain tee. During performances, ballet dancers can seem as powerful gods, yet frequently in person they are small. Not so Ball, whose tall stature is one reason for his popularity for princely roles and partnering. Possessing fine traits and intense eyes, there's a touch 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 seamlessly. Raised in Liverpool, he encountered little teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was advanced each year, reaching the top rank of principal in 2018. He has relished tackling meaty characters, especially the emotional angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is in a talk, in an "Evening With" series designed to offer behind-the-scenes insights into a performer's craft. He will guide the audience through a part, showing his cognitive process while execution. Yet in lighter ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he notes.
The Mental Game and Post-Performance Emotions
How does he feel following 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 later. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked 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 pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Early Motivations and Creative Influences
His determination originated in early setbacks. Not excelling in contests at school made him "driven!" It was motivation to prove he could achieve. Reading 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 dance works. For Ball, "organic movement has value." "Breaking the rules is compelling, but just pretending 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 books, compositions, and art.
Close-Up Performance and Personal Partnership
He additionally is interested in staging dance in smaller venues. "It was just really thrilling," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their home company, which might be beneficial. "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 favorite supporter."
Regarding Instagram and Physical Perception
On social media, followers can see videos from his dance films and images that highlight a sculpted physique. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball characterizes his early self as "eager for success." Did it met his hopes? "I feel very aware of how life is a separate thing to the aspirations you had as a young person," he muses. He probably has about ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
