Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is naturally upright, his arms muscular beneath a plain tee. During performances, dancers can appear as powerful gods, yet frequently offstage they are small. This is not true for Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. Possessing delicate traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Pinnacle
At 31, Ball is enjoying the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted each year, reaching the top rank of lead dancer in 2018. He has loved tackling substantial characters, especially the psychological turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is in a talk, in an "Evening With" event aiming to offer intimate perspectives into a dancer's craft. He will walk the crowd through a role, demonstrating his cognitive process during performance. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the most demanding technically," he states.
The Psychological Game and After the Show Emotions
How does he feel following a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get lost in the character, frequently I do feel embarrassed later. Following Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker once observed on a "sense of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Formative Motivations and Artistic Influences
Ball's tenacity stemmed from early 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 "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next challenge is making his own dance works. In his view, "there's nothing wrong with." "Breaking the conventions is compelling, but just pretending 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 books, music, and painting.
Close-Up Performance and Private Dynamic
He additionally favors presenting dance in smaller venues. "It was just really thrilling," he says of a previous show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t typically matched on stage at their main theater, which is perhaps 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 cheerleader."
Regarding Instagram and Bodily Image
On Instagram, followers can see clips from his dance films and images that highlight a sculpted physique. Does he care that the response can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to viewing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his younger self as "desperate for success." Has it met his hopes? "I feel very aware of how reality is a different reality to the aspirations you had as a young person," he reflects. He probably has another decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
