In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally upright, his limbs muscular beneath a simple white T-shirt. On stage, ballet dancers can seem as powerful deities, yet frequently offstage they are petite. This is not true for Ball, whose height is part of his popularity for princely characters and pas de deux work. Possessing fine traits 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 crest of a career that has progressed smoothly. Raised in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was promoted each year, reaching the top rank of lead dancer in 2018. He has relished tackling substantial characters, especially the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is as himself, in an "In Conversation" event designed to offer intimate insights into a performer's art. He will walk the audience through a role, demonstrating his cognitive process while execution. Even in lighter works, the test is profound. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Game and After the Show Feelings
What about following a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. Yet a dance maker previously remarked on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Artistic Inspirations
Ball's determination originated in youthful experiences. Not doing well in competitions at school made him "driven!" It was fuel to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own choreography. In his view, "organic movement has value." "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 substance, drawing inspiration from literature, compositions, and painting.
Intimate Performance and Personal Partnership
He additionally favors staging dance in smaller venues. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made pieces 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." The couple aren’t usually paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Image
On Instagram, followers can see videos from his projects and photos that highlight a athletic physique. Does he mind that the engagement 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 viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball characterizes his younger self as "desperate for success." Has it lived up to his expectations? "I am conscious of how life is a separate reality to the dreams you made as a young person," he muses. He likely has about ten years of performing left. "I suppose in the future, I want to be a bit more gentle with myself."
