In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his limbs defined beneath a plain white T-shirt. During performances, ballet dancers can seem as powerful gods, yet frequently in person they are small. This is not true for Ball, whose tall stature is one reason for his demand for heroic roles and partnering. With fine features and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Top
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he faced little ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was advanced annually, reaching the highest position of lead dancer in 2018. He has relished tackling substantial dramatic roles, particularly the emotional turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is in a talk, in an "Evening With" event designed to offer behind-the-scenes insights into a dancer's art. He will guide the audience through a role, showing his mental workflow while execution. Even in lighter works, the test is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Mental Struggle and Post-Performance Emotions
What about following a performance, when he has succeeded? "It's pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel self-conscious later. Following Mayerling I'm always like: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Is there? "I'm quite energetic in general, 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 good change."
Early Drivers and Creative Inspirations
Ball's determination stemmed from early experiences. Not doing well in competitions at school made him "driven!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, 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 interesting, 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 substance, drawing inspiration from literature, music, and painting.
Close-Up Dance and Personal Partnership
He additionally is interested in staging dance in more intimate spaces. "It was just really exciting," he says of a previous experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "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 healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his projects and images that showcase a athletic physique. Does he care that the engagement can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—something that can be interpreted on various levels.
Ball characterizes his early self as "desperate for success." Has it met his expectations? "I feel very aware of how life is a different thing to the dreams you made as a child," he reflects. He likely has another decade of dancing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
