Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally upright, his arms defined beneath a plain white T-shirt. During performances, ballet dancers can seem as mighty deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is one reason for his demand for heroic roles and partnering. With delicate traits and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered little ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the troupe and was advanced each year, attaining the highest position of lead dancer in 2018. He has loved taking on meaty characters, especially the emotional turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is as himself, in an "Evening With" series aiming to offer behind-the-scenes perspectives into a dancer's craft. He will guide the audience through a role, showing his cognitive workflow during performance. Even in lighter ballets, the test is profound. "Don Quixote is one of the most demanding technically," he states.
The Mental Game and Post-Performance Emotions
What about following a performance, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get lost in the role, quite often I do feel embarrassed later. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, polite, and prone to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Is there? "I'm quite energetic usually, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Drivers and Artistic Inspirations
Ball's tenacity originated in early setbacks. Not excelling in competitions at school made him "vengeful!" This became motivation 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 recalls.
The next challenge is making his own choreography. In his view, "organic movement has value." "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 ideas from books, music, and art.
Close-Up Dance and Private Partnership
He also is interested in staging dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Perception
On Instagram, fans can see clips from his projects and photos that highlight a sculpted physique. Does he mind that the response can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his early self as "eager for success." Has it met his hopes? "I am conscious of how life is a separate reality to the aspirations you made as a child," he reflects. He probably has about ten years of performing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
