In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally upright, his arms muscular beneath a simple tee. On stage, dancers can appear like powerful deities, yet frequently in person they are petite. This is not true for Ball, whose tall stature is part of his demand for heroic roles and partnering. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is enjoying the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the company and was advanced each year, attaining the top rank of lead dancer in 2018. He has relished tackling meaty characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is in a talk, in an "Evening With" event designed to offer intimate insights into a dancer's craft. He will walk the audience through a role, demonstrating his mental process during execution. Even in lighter works, the challenge is significant. "Don Quixote is one of the toughest from a skill perspective," he states.
The Mental Struggle and After the Show Emotions
What about after a show, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, quite often I do feel embarrassed later. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Is there? "I am very energetic in general, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Motivations and Artistic Influences
Ball's tenacity stemmed from youthful setbacks. Not excelling in competitions at school made him "driven!" This became motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own dance works. In his view, "organic movement has value." "Breaking the conventions is compelling, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be loaded with substance, drawing ideas from books, music, and painting.
Intimate Performance and Personal Dynamic
He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a previous show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Physical Perception
On Instagram, followers can see videos from his dance films and photos that showcase a sculpted physique. Does he mind that the response can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be seen on various levels.
Ball characterizes his younger self as "eager for success." Has it met his expectations? "I am conscious of how life is a different reality to the dreams you made as a child," he reflects. He probably has about ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
