In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can appear as mighty deities, yet often in person they are small. This is not true for Ball, whose height is part of his popularity for princely characters and pas de deux work. With delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
At 31, Ball is enjoying the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered little ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was advanced each year, attaining the top rank of lead dancer in 2018. He has relished taking on meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring role is as himself, in an "In Conversation" event designed to offer intimate perspectives into a performer's craft. He will guide the audience through a part, demonstrating his cognitive process during execution. Yet in more comedic works, the challenge is profound. "Don Quixote is one of the toughest technically," he states.
The Psychological Struggle and After the Show Emotions
How does he feel following a show, 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 role, frequently I do feel self-conscious later. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Is there? "I'm quite active in general, 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 good change."
Formative Motivations and Artistic Influences
Ball's determination originated in youthful setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next challenge is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules 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 aims his work to be filled with meaning, drawing inspiration from literature, music, and art.
Close-Up Dance and Private Partnership
He also is interested in presenting dance in more intimate spaces. "It was just really exciting," he says of a previous experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces 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 resembled Dirty Dancing." They are not usually matched on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his projects and images that showcase a athletic form. Does he care 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 relates it to seeing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball describes his early self as "desperate for success." Did it met his hopes? "I am conscious of how life is a separate thing to the aspirations you made as a young person," he reflects. He probably has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
