In the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his arms defined beneath a simple tee. During performances, dancers can appear like powerful deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is part of his popularity for princely characters and pas de deux work. With fine features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has advanced smoothly. Raised in Liverpool, he encountered minimal teasing for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the company and was promoted each year, reaching the highest position of principal in 2018. He has relished taking on 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 mental fatigue."
Ball's next featured appearance is in a talk, in an "Evening With" event designed to offer behind-the-scenes perspectives into a performer's art. He will walk the audience through a role, demonstrating his mental workflow while execution. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Struggle and After the Show Feelings
What about after a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get lost in the character, quite often I do feel self-conscious afterwards. Following Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I'm quite active in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Artistic Inspirations
His determination originated in early experiences. Not excelling in contests at school made him "driven!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming endeavor is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is interesting, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be filled with meaning, drawing ideas from books, compositions, and painting.
Close-Up Performance and Personal Dynamic
He also is interested in presenting dance in more intimate 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 person, and they’re perspiring.'"
Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On social media, fans can see clips from his dance films and photos that highlight a sculpted physique. Does he care that the response can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his early self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how life is a separate thing to the aspirations you had as a child," 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 gentle with myself."
