In the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs defined beneath a plain tee. On stage, ballet dancers can appear like mighty gods, yet often in person they are small. Not so Ball, whose tall stature is one reason for his popularity for heroic roles and partnering. Possessing delicate features and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced little ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has relished tackling substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring role is as himself, in an "In Conversation" series aiming to offer intimate insights into a dancer's art. He will walk the audience through a part, demonstrating his mental workflow while performance. Yet in lighter works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Psychological Game and After the Show Emotions
What about after a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get lost in the role, frequently I do feel self-conscious later. After an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a dance maker once observed on a "kind of suffering in him." Is there? "I am very active in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Creative Inspirations
His tenacity stemmed from early setbacks. Not excelling in contests at school made him "driven!" This became motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
The next challenge is making his own choreography. In his view, "there's nothing wrong with." "Challenging the rules is compelling, 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 filled with substance, drawing inspiration from books, music, and art.
Intimate Performance and Private Dynamic
He also is interested in staging dance in more intimate venues. "It was just really thrilling," he says of a previous show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his partner, 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 audacious lift. "It was like Dirty Dancing." They are not typically matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his dance films and photos that showcase a athletic physique. Does he mind that the response can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—something that can be seen on various levels.
Ball characterizes his early self as "desperate for success." Has it lived up to his hopes? "I am conscious of how reality is a different thing to the dreams you had as a child," he muses. He likely has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
