In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can seem like powerful gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is part of his popularity for princely roles and partnering. With delicate features and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Entering the Royal Ballet School at 11, he moved straight into the company and was promoted each year, attaining the highest position of lead dancer in 2018. He has loved tackling substantial dramatic roles, particularly the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a performer's art. He will guide the crowd through a part, showing his mental workflow while execution. Even in more comedic works, the test is significant. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Game and After the Show Feelings
How does he feel after a performance, when he has succeeded? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Early Drivers and Creative Inspirations
His determination originated in youthful setbacks. Not doing well in contests at school made him "vengeful!" It was motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is creating his own choreography. In his view, "there's nothing wrong with." "Challenging the rules is compelling, but just acting 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 loaded with meaning, drawing ideas from books, music, and art.
Intimate Performance and Private Partnership
He additionally is interested in staging dance in smaller venues. "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 human, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree 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 aren’t usually matched on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Image
On social media, fans can see videos from his projects and images that showcase a sculpted physique. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—something that can be interpreted on multiple ways.
Ball describes his younger self as "desperate for success." Has it met his expectations? "I feel very aware of how life is a separate reality to the aspirations you had as a young person," he muses. He likely has about ten years of dancing left. "I suppose in the future, I want to be a bit more kind with myself."
