Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms muscular beneath a plain white T-shirt. During performances, dancers can appear like powerful deities, yet frequently offstage they are small. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and partnering. With fine traits and piercing eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Top
At 31, Ball is enjoying the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was advanced each year, reaching the highest position of principal in 2018. He has relished tackling meaty dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is in a talk, in an "In Conversation" series designed to offer intimate perspectives into a dancer's craft. He will walk the crowd through a part, showing his mental workflow while performance. Even in more comedic ballets, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Psychological Game and Post-Performance Emotions
What about after a show, 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 character, quite often I do feel embarrassed afterwards. Following Mayerling I'm always like: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Is there? "I'm quite active in general, 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."
Early Drivers and Creative Influences
His determination stemmed from early experiences. Not excelling in contests at school made him "driven!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming endeavor is creating his own choreography. In his view, "organic movement has value." "Breaking the conventions 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 inspiration from books, music, and painting.
Close-Up Dance and Private Dynamic
He additionally is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a previous experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Physical Image
On social media, fans can see clips from his dance films and images that showcase a sculpted physique. Does he mind that the engagement can be somewhat objectifying? 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 various ways.
Ball characterizes his early self as "desperate for success." Has it met his expectations? "I feel very aware of how life is a separate reality to the dreams you made as a child," he reflects. He probably has about decade of performing left. "I suppose in the future, I want to be a bit more gentle with myself."
