Within the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his limbs defined beneath a plain tee. During performances, ballet dancers can appear as mighty deities, yet frequently offstage they are small. This is not true for Ball, whose tall stature is part of his popularity for heroic characters and pas de deux work. Possessing delicate features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he faced minimal ridicule for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved straight into the troupe and was advanced annually, attaining the highest position of principal in 2018. He has loved tackling substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a performer's art. He will guide the audience through a part, showing his cognitive process while execution. Even in lighter works, the test is significant. "A classic ballet is one of the toughest technically," he states.
The Psychological Struggle and Post-Performance Feelings
How does he feel following a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the character, frequently I do feel self-conscious afterwards. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Formative Drivers and Artistic Inspirations
Ball's determination originated in youthful experiences. Not excelling in competitions at school made him "vengeful!" It was fuel to demonstrate he could succeed. Discovering 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 endeavor is creating his own dance works. For Ball, "there's nothing wrong with." "Challenging the conventions is interesting, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be filled with substance, drawing inspiration from books, compositions, and painting.
Close-Up Performance and Personal Partnership
He also is interested in staging dance in more intimate spaces. "It was just really thrilling," he says of a previous experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t typically matched on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Perception
On social media, fans can see clips from his dance films and images that highlight a athletic form. Does he mind that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be seen on multiple ways.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a different thing to the dreams you made as a young person," he reflects. He likely has another ten years of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
