Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his arms muscular beneath a plain tee. During performances, dancers can seem as powerful deities, yet often offstage they are small. Not so Ball, whose height is part of his demand for heroic roles and pas de deux work. With fine features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed smoothly. Raised in Liverpool, he encountered little teasing for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was advanced each year, reaching the highest position of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured appearance is as himself, in an "Evening With" series aiming to offer intimate perspectives into a dancer's craft. He will walk the crowd through a part, demonstrating his mental process while execution. Even in more comedic ballets, the challenge is profound. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Psychological Struggle and After the Show Feelings
How does he feel after a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, frequently I do feel self-conscious afterwards. Following Mayerling I'm always like: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a dance maker once remarked on a "kind of suffering in him." Does this exist? "I am very active in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Artistic Inspirations
Ball's tenacity originated in early experiences. Not excelling in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Discovering 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 dance works. For Ball, "there's nothing wrong with." "Breaking the conventions is interesting, 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 substance, drawing inspiration from books, music, and painting.
Intimate Dance and Personal Dynamic
He additionally is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: '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 clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Image
On Instagram, followers can see clips from his dance films and photos that showcase a athletic physique. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be seen on multiple ways.
Ball characterizes his younger self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how reality is a different reality to the aspirations you made as a child," he muses. He likely has another ten years of performing left. "I guess in the future, I want to be a bit more kind with myself."
