In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms defined beneath a simple tee. During performances, dancers can seem as powerful gods, yet frequently in person they are small. This is not true for Ball, whose tall stature is part of his popularity for heroic roles and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced little teasing for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was advanced annually, reaching the top rank of lead dancer in 2018. He has loved tackling substantial characters, especially the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured appearance is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a performer's art. He will walk the audience through a role, showing his mental process during performance. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he notes.
The Mental Game and Post-Performance Feelings
How does he feel after a performance, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed later. Following an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I am very active usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Motivations and Creative Influences
Ball's tenacity stemmed from youthful experiences. Not doing well in contests at school made him "driven!" This became fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is creating his own choreography. For Ball, "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 aims his work to be filled with meaning, drawing inspiration from literature, compositions, and art.
Intimate Dance and Private Partnership
He also is interested in presenting 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 realizing: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest cheerleader."
On Social Media and Physical Image
On Instagram, fans can see videos from his projects and photos that showcase a sculpted form. Does he care that the response can be somewhat 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 multiple ways.
Ball characterizes his early self as "eager for success." Did it lived up to his expectations? "I feel very aware of how life is a separate thing to the aspirations you made as a young person," he muses. He likely has about decade of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."
