Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a plain white T-shirt. During performances, dancers can seem like mighty gods, yet frequently offstage they are small. This is not true for Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. Possessing delicate traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early passion in ballet. Joining the Royal Ballet School at 11, he moved straight into the troupe and was advanced each year, reaching the highest position of principal in 2018. He has loved taking on meaty dramatic roles, particularly the psychological turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring 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 crowd through a role, demonstrating his mental workflow during performance. Yet in more comedic works, the challenge is significant. "Don Quixote is one of the toughest technically," he states.
The Mental Struggle and Post-Performance Emotions
How does he feel after a show, when he has succeeded? "It's pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get lost in the character, quite often I do feel embarrassed afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Early Motivations and Artistic Influences
His determination originated in early setbacks. Not excelling in competitions at school made him "driven!" This became fuel 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 obsessive," he recalls.
An upcoming endeavor is making his own choreography. In his view, "there's nothing wrong with." "Challenging the rules is interesting, but just acting 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 meaning, drawing inspiration from books, music, and painting.
Close-Up Performance and Personal Dynamic
He also favors presenting dance in smaller venues. "It was just really exciting," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not typically matched on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Perception
On Instagram, followers can see videos from his dance films and images that showcase a sculpted physique. Does he care 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 relates it to viewing Michelangelo’s David—something that can be interpreted on multiple ways.
Ball describes his early self as "eager for success." Did it met his hopes? "I feel very aware of how life is a separate reality to the dreams you had as a child," he reflects. He likely has another decade of performing left. "I suppose in the future, I want to be a bit more gentle with myself."
