In the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his limbs muscular beneath a simple tee. On stage, dancers can appear like powerful deities, yet often offstage they are petite. Not so Ball, whose height is one reason for his popularity for heroic roles and pas de deux work. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted annually, attaining the highest position of lead dancer in 2018. He has loved tackling substantial characters, particularly the emotional angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a performer's art. He will walk the audience through a part, showing his cognitive workflow during execution. Even in more comedic ballets, the test is profound. "Don Quixote is one of the toughest technically," he notes.
The Psychological Struggle and Post-Performance Emotions
What about after a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed afterwards. Following 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 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 confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Artistic Influences
His tenacity stemmed from youthful experiences. Not doing well in contests at school made him "driven!" It was motivation to demonstrate he could achieve. Reading 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. For Ball, "organic movement has value." "Breaking the conventions is interesting, 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 filled with meaning, drawing ideas from literature, music, and painting.
Close-Up Dance and Personal Dynamic
He also favors staging dance in more intimate spaces. "It was just really thrilling," he says of a previous experience. "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 girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not typically matched on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Image
On social media, fans can see videos from his dance films and images that highlight a sculpted physique. Does he care that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball characterizes his early self as "eager for success." Did it lived up to his expectations? "I feel very aware of how reality is a different reality to the aspirations you made as a young person," he reflects. He probably has about decade of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
