In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally upright, his limbs defined beneath a plain tee. During performances, dancers can appear as mighty gods, yet often in person they are small. This is not true for Ball, whose tall stature is one reason for his popularity for princely roles and pas de deux work. With fine features and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Top
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was promoted each year, reaching the top rank of lead dancer in 2018. He has loved taking on substantial characters, particularly the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is as himself, in an "Evening With" event designed to offer behind-the-scenes perspectives into a dancer's art. He will guide the crowd through a role, demonstrating his mental process while performance. Even in more comedic ballets, the challenge is profound. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Game and Post-Performance Feelings
How does he feel 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 character, quite often I do feel embarrassed later. After Mayerling I'm always thinking: Wow, 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." Does this exist? "I'm quite 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 catalyst for good change."
Early Motivations and Artistic Inspirations
Ball's determination originated in youthful experiences. Not doing well in competitions at school made him "driven!" This became fuel to prove 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.
An upcoming endeavor is making his own dance works. For Ball, "there's nothing wrong with." "Challenging 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 wants his work to be filled with meaning, drawing ideas from books, music, and art.
Close-Up Performance and Personal Dynamic
He additionally favors presenting dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually paired on stage at their home company, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his dance films and images that highlight a sculpted form. Does he mind 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 states. He compares it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
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 separate reality to the aspirations you made as a child," he muses. He probably has another ten years of dancing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
