In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is effortlessly upright, his arms defined beneath a plain tee. On stage, dancers can appear like mighty gods, yet often offstage they are small. Not so Ball, whose tall stature is part of his popularity for princely roles and partnering. With delicate traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Entering the Royal Ballet School at 11, he moved straight into the company and was promoted each year, attaining the top rank of lead dancer in 2018. He has loved taking on meaty characters, particularly the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, 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 intimate insights into a dancer's art. He will walk the crowd through a part, demonstrating his cognitive process during execution. Yet in more comedic ballets, the test is profound. "A classic ballet is one of the toughest technically," he notes.
The Mental Struggle and After the Show Feelings
How does he feel following a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the character, frequently I do feel self-conscious later. After Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Is there? "I am very active in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Artistic Inspirations
Ball's determination originated in early experiences. Not excelling in competitions 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 changed everything, it made me go a bit fanatical," he recalls.
The next challenge is creating his own choreography. In his view, "organic movement has value." "Breaking the rules 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 filled with meaning, drawing inspiration from books, music, and painting.
Intimate Dance and Private Partnership
He also favors staging dance in smaller venues. "It was just really exciting," he says of a past show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually paired on stage at their main theater, 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 biggest supporter."
Regarding Instagram and Physical Perception
On social media, followers can see videos from his dance films and images that highlight a sculpted physique. Does he care that the engagement can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on various ways.
Ball characterizes his early self as "eager for success." Has it lived up to his hopes? "I am conscious of how reality is a different reality to the aspirations you had as a child," he reflects. He likely has about ten years of performing left. "I guess in the future, I want to be a bit more gentle with myself."
