In the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a plain white T-shirt. During performances, dancers can appear as mighty gods, 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. With fine features and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has advanced seamlessly. Raised in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the company and was advanced each year, reaching the highest position of principal in 2018. He has relished tackling substantial dramatic roles, especially the psychological turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" event designed to offer intimate insights into a performer's craft. He will guide the audience through a part, demonstrating his cognitive workflow while execution. Even in lighter works, the challenge is profound. "Don Quixote is one of the most demanding technically," he states.
The Psychological Game and After the Show Emotions
How does he feel after a performance, when he has succeeded? "It's pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. Following Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. But a dance maker 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 negativity has been an instigator for good change."
Early Motivations and Artistic Influences
His tenacity originated in youthful experiences. Not excelling in contests at school made him "driven!" This became fuel 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 remembers.
The next endeavor is making his own dance works. In his view, "there's nothing wrong with." "Breaking the conventions is interesting, 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 loaded with meaning, drawing ideas from books, compositions, and painting.
Intimate Performance and Personal Dynamic
He also is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level 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." The couple are not typically matched on stage at their main theater, which is perhaps beneficial. "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."
On Social Media and Physical Perception
On social media, fans can see videos from his projects and photos that showcase a sculpted form. Does he mind that the response 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 compares it to seeing Michelangelo’s David—an object that can be interpreted on various levels.
Ball describes his early self as "eager for success." Did it met his hopes? "I am conscious of how reality is a different thing to the aspirations you made as a young person," he reflects. He probably has another decade of dancing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
