Within the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his arms muscular beneath a simple tee. During performances, dancers can seem like mighty deities, yet frequently offstage they are small. Not so Ball, whose height is part of his popularity for princely roles and partnering. Possessing delicate features and intense eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Raised in Liverpool, he encountered little teasing for his early passion in ballet. Joining the Royal Ballet School at 11, he graduated straight into the company and was advanced annually, attaining the highest position of principal in 2018. He has relished taking on meaty characters, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring role is as himself, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will walk the audience through a part, showing his mental workflow while performance. Yet in lighter works, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Mental Game and Post-Performance Emotions
What about following a performance, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel self-conscious later. Following an intense role I'm always like: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Does this exist? "I am very 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 good change."
Early Drivers and Creative Influences
His tenacity stemmed from youthful setbacks. Not excelling in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next challenge is creating his own dance works. 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 loaded with substance, drawing inspiration from books, compositions, and art.
Intimate Dance and Private Partnership
He additionally is interested in staging dance in more intimate venues. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," 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 smooth sailing," he admits. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Bodily Image
On Instagram, followers can see clips from his dance films and images that showcase a athletic form. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball describes his early self as "desperate for success." Has it lived up to his expectations? "I feel very aware of how reality is a separate thing to the dreams you made as a child," he reflects. He probably has another decade of performing left. "I guess in the future, I want to be a bit more kind with myself."
