In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a simple tee. On stage, dancers can seem as powerful deities, yet frequently offstage they are small. Not so Ball, whose height is part of his demand for princely characters and pas de deux work. With fine features and intense eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was promoted annually, attaining the highest position of principal in 2018. He has relished tackling meaty characters, 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."
His upcoming featured role is as himself, in an "In Conversation" series aiming to offer intimate insights into a dancer's craft. He will walk the crowd through a part, demonstrating his mental workflow 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 Post-Performance Feelings
How does he feel following a performance, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed later. After Mayerling I'm always thinking: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Creative Inspirations
His determination stemmed from early experiences. Not doing well in competitions at school made him "vengeful!" It was fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own dance works. For Ball, "organic movement has value." "Challenging the conventions 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 meaning, drawing ideas from literature, music, and painting.
Close-Up Performance and Private Partnership
He additionally is interested in staging dance in more intimate spaces. "It was just really thrilling," 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 made duets with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his projects and images that highlight a athletic physique. Does he care that the response can be somewhat objectifying? Not really. "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 multiple ways.
Ball describes his younger self as "desperate for success." Has it lived up to his expectations? "I feel very aware of how reality is a different reality to the aspirations you had as a young person," he reflects. He likely has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
