In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his limbs defined beneath a simple white T-shirt. During performances, ballet dancers can appear as mighty gods, yet frequently offstage they are petite. Not so Ball, whose height is one reason for his popularity for heroic roles and pas de deux work. With delicate features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
At 31, Ball is enjoying the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered little teasing for his early interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was promoted each year, attaining the top rank of principal in 2018. He has relished tackling substantial dramatic roles, particularly the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring role is in a talk, in an "Evening With" event designed to offer behind-the-scenes insights into a performer's art. He will guide the crowd through a role, showing his cognitive process while performance. Even in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.
The Mental Game and After the Show Feelings
How does he feel following a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get immersed in the character, frequently I do feel embarrassed later. Following Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I'm quite active in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Early Motivations and Artistic Inspirations
Ball's tenacity originated in youthful experiences. Not excelling in contests at school made him "vengeful!" This became fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming endeavor is creating his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions 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 wants his work to be loaded with substance, drawing ideas from books, music, and art.
Intimate Dance and Private Dynamic
He additionally favors presenting dance in more intimate venues. "It was just really exciting," he says of a previous experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple are not usually matched on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."
On Social Media and Physical Perception
On Instagram, followers can see videos from his dance films and images that highlight a sculpted physique. Does he care that the engagement can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
Ball describes his younger self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how reality is a different thing to the aspirations you made as a young person," he muses. He likely has another decade of performing left. "I guess in the future, I want to be a bit more gentle with myself."
