Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his arms defined beneath a simple tee. On stage, dancers can seem like powerful deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. With fine traits and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced seamlessly. Raised in Liverpool, he encountered little teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was advanced annually, attaining the top rank of principal in 2018. He has relished tackling substantial dramatic roles, especially the psychological angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is as himself, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a dancer's craft. He will guide the crowd through a part, demonstrating his cognitive workflow during execution. Yet in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel after a performance, 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, frequently I do feel self-conscious later. Following an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a dance maker once observed on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Creative Influences
Ball's determination stemmed from youthful experiences. 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 changed everything, it made me go a bit obsessive," he recalls.
An upcoming endeavor is making his own dance works. For Ball, "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 substance, drawing ideas from literature, music, and art.
Close-Up Performance and Personal Dynamic
He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Perception
On Instagram, followers can see clips from his dance films and images that highlight a sculpted physique. Does he care that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—an object that can be seen on various levels.
Ball characterizes his younger self as "eager for success." Has it lived up to his expectations? "I feel very aware of how life is a different reality to the aspirations you made as a young person," he muses. He likely has about ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
