Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his arms muscular beneath a simple tee. During performances, ballet dancers can seem like mighty deities, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is one reason for his demand for princely 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
Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal teasing for his childhood passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the company and was promoted each year, attaining the highest position of lead dancer in 2018. He has loved tackling meaty dramatic roles, especially the emotional angst found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is in a talk, in an "In Conversation" series designed to offer behind-the-scenes insights into a dancer's art. He will walk the crowd through a role, showing his mental workflow while execution. Yet in more comedic ballets, the test is profound. "A classic ballet is one of the most demanding technically," he notes.
The Mental Struggle and Post-Performance Emotions
What about after a show, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed afterwards. After Mayerling I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Does this exist? "I am very active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Drivers and Artistic Influences
His tenacity stemmed from early experiences. Not doing well in contests at school made him "driven!" It was motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming endeavor is creating his own choreography. For Ball, "there's nothing wrong with." "Breaking 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 art.
Close-Up Performance and Personal Dynamic
He also favors presenting dance in smaller spaces. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t typically matched on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On Instagram, followers can see clips from his projects and images that highlight a sculpted form. 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 protective about it," he states. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his early self as "desperate for success." Has it lived up to his hopes? "I am conscious of how life is a different reality to the aspirations you had as a young person," he muses. He likely has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
