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Tuesday, October 13, 2026
Urban Network Online

Ballet Luminary Matthew Ball on Demanding Parts and Online Scrutiny: 'I Don't Feel Protective About My Body'

Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his limbs muscular beneath a simple tee. During performances, dancers can seem like powerful deities, yet often in person they are small. Not so Ball, whose tall stature is part of his demand for princely roles and pas de deux work. With delicate traits and piercing eyes, there's a touch of a brooding actor about him.

A Seamless Rise to the Top

At 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal teasing for his early passion in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was advanced each year, attaining the top rank of principal in 2018. He has relished taking on 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 mental fatigue."

His next featured role is as himself, in an "Evening With" series aiming to offer behind-the-scenes perspectives into a dancer's art. He will guide the crowd through a role, showing his cognitive workflow during execution. Yet in lighter works, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.

The Psychological Game and After the Show Feelings

What about after a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the role, quite often I do feel self-conscious afterwards. Following an intense role I'm always thinking: God, what must people think?"

Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once observed on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."

Formative Motivations and Creative Inspirations

His tenacity originated in early experiences. Not excelling in contests at school made him "driven!" It was fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.

The next endeavor is creating his own dance works. 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 meaning, drawing ideas from literature, compositions, and art.

Close-Up Dance and Private Dynamic

He also favors staging 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 thinking: 'That’s a person, and they’re perspiring.'"

Ball has created duets with his girlfriend, fellow principal Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually paired on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."

Regarding Instagram and Physical Image

On social media, followers can see videos from his dance films and photos that showcase a sculpted physique. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be seen on multiple levels.

Ball describes his early self as "eager for success." Has it met his expectations? "I feel very aware of how life is a different thing to the aspirations you had as a young person," he reflects. He likely has about decade of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."

Written by

Lori Jordan

Sophie Jansen is a freelance writer and urban culture enthusiast based in Amsterdam, covering music, art, and street style.

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