In the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly upright, his limbs muscular beneath a simple white T-shirt. On stage, dancers can appear as powerful gods, yet frequently in person they are small. This is not true for Ball, whose height is part of his demand for princely roles and pas de deux work. Possessing delicate traits and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted annually, attaining the highest position of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" event designed to offer intimate perspectives into a dancer's art. He will walk the audience through a part, demonstrating his mental workflow during performance. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Mental Game and After the Show Feelings
What about following a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed afterwards. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a dance maker once remarked on a "kind of suffering in him." Does this exist? "I am very 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 positive change."
Early Motivations and Artistic Inspirations
His determination originated in early setbacks. Not doing well in competitions at school made him "vengeful!" It was fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming endeavor is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules 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 aims his work to be filled with meaning, drawing inspiration from books, music, and art.
Intimate Dance and Private Dynamic
He also favors presenting dance in more intimate 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 duets with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually matched on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On Instagram, fans can see videos from his projects and photos that highlight a athletic form. Does he mind that the response can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares 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 lived up to his expectations? "I am conscious of how life is a different thing to the aspirations you had as a young person," he reflects. He likely has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
