Within the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his arms defined beneath a plain tee. During performances, ballet dancers can seem like mighty gods, yet often in person they are petite. This is not true for Ball, whose height is part of his popularity for heroic roles and pas de deux work. Possessing delicate features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Top
Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the troupe and was advanced each year, attaining the highest position of lead dancer in 2018. He has loved tackling substantial dramatic roles, particularly the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next featured appearance is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a performer's art. He will walk the audience through a part, demonstrating his mental workflow during execution. Even in lighter works, the test is significant. "Don Quixote is one of the toughest from a skill perspective," he states.
The Mental Game and Post-Performance Emotions
What about following a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the character, quite often I do feel self-conscious afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Early Motivations and Creative Inspirations
His determination originated in youthful setbacks. Not excelling in competitions at school made him "vengeful!" It was fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging the rules is compelling, but just acting 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 loaded with meaning, drawing ideas from literature, music, and painting.
Intimate Dance and Private Dynamic
He additionally is interested in staging 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 person, and they’re sweating.'"
Ball has created duets 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 audacious lift. "It resembled Dirty Dancing." They are not typically paired on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Physical Perception
On Instagram, followers can see clips from his dance films and photos 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 use, 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 various levels.
Ball describes his early self as "eager for success." Has it lived up to his expectations? "I am conscious of how reality is a separate thing to the dreams you had as a child," he reflects. He likely has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
