In the hushed ambiance 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 simple tee. During performances, dancers can seem as mighty deities, yet often offstage they are small. Not so Ball, whose tall stature is part of his popularity for heroic characters and pas de deux work. With delicate features and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Top
Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Growing up in Liverpool, he faced little teasing for his early passion in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was promoted each year, reaching the highest position of lead dancer in 2018. He has relished tackling substantial characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next featured role is as himself, in an "Evening With" series aiming to offer behind-the-scenes insights into a dancer's art. He will guide the crowd through a role, showing his mental process while performance. Yet in more comedic works, the challenge is profound. "A classic ballet is one of the most demanding technically," he notes.
The Mental Struggle and Post-Performance Feelings
How does he feel following a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, 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. Yet a dance maker previously remarked on a "kind of suffering in him." Is there? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Early Drivers and Creative Influences
Ball's determination stemmed from early experiences. Not excelling in competitions at school made him "driven!" This became fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming endeavor is making his own dance works. In his view, "organic movement has value." "Challenging the conventions is compelling, but just acting 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 books, music, and painting.
Close-Up Dance and Personal Dynamic
He also favors presenting 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 realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not typically paired on stage at their main theater, which is perhaps healthy. "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 supporter."
On Social Media and Bodily Image
On Instagram, followers can see videos from his dance films and photos that highlight a sculpted form. Does he care that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we work with, 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 various ways.
Ball characterizes his early self as "eager for success." Has it met his expectations? "I feel very aware of how reality is a separate reality to the dreams you made as a young person," he muses. He likely has another decade of dancing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
