In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms defined beneath a plain tee. During performances, ballet dancers can appear as powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is one reason for his demand for heroic roles and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is enjoying the peak of a career that has advanced seamlessly. Raised in Liverpool, he faced little teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was advanced annually, attaining the highest position of lead dancer in 2018. He has loved tackling meaty dramatic roles, particularly the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured role is as himself, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a dancer's craft. He will walk the crowd through a part, demonstrating his mental process while execution. Even in more comedic works, the challenge is profound. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Game and Post-Performance Emotions
How does he feel following a show, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel embarrassed later. After Mayerling I'm always like: God, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer previously observed on a "sense of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Formative Drivers and Creative Inspirations
His tenacity originated in early setbacks. Not doing well in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next challenge is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is compelling, but just pretending that they’re not a thing 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.
Intimate Dance and Personal Partnership
He additionally favors presenting dance in smaller venues. "It was just really exciting," 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 created pieces with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t typically paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his projects and photos that highlight a sculpted form. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple ways.
Ball describes his younger self as "eager for success." Has it lived up to 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 about ten years of dancing left. "I suppose in the future, I want to be a bit more kind with myself."
