In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is effortlessly straight-backed, his limbs defined beneath a simple tee. On stage, ballet dancers can appear like mighty gods, yet frequently offstage they are small. Not so Ball, whose height is one reason for his demand for princely roles and partnering. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he moved directly into the company and was promoted annually, attaining the highest position of principal in 2018. He has relished tackling substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will walk the crowd through a role, demonstrating his cognitive workflow while performance. Yet in more comedic works, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Game and After the Show Feelings
How does he feel following a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get lost in the role, frequently I do feel embarrassed afterwards. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. Yet a choreographer previously remarked on a "kind of suffering in him." Is there? "I'm quite active in general, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Formative Drivers and Artistic Inspirations
His determination originated in early experiences. Not excelling in competitions at school made him "driven!" This became motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next challenge is making his own dance works. For Ball, "there's nothing wrong with." "Challenging the rules is compelling, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be filled with meaning, drawing inspiration from literature, compositions, and art.
Intimate Performance and Private Partnership
He also is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a past 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 girlfriend, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Physical Image
On social media, fans can see clips from his dance films and photos that showcase a athletic physique. Does he mind that the engagement can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball describes his younger self as "eager for success." Has it lived up to his expectations? "I am conscious of how reality is a separate reality to the aspirations you had as a young person," he reflects. He probably has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
