In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his arms defined beneath a simple white T-shirt. During performances, ballet dancers can seem like powerful deities, yet frequently offstage they are small. Not so Ball, whose tall stature is part of his demand for heroic characters and partnering. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was promoted annually, attaining the top rank of lead dancer in 2018. He has loved tackling meaty dramatic roles, particularly the psychological turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is as himself, in an "Evening With" event designed to offer intimate insights into a dancer's art. He will walk the audience through a part, showing his mental workflow during performance. Even in more comedic ballets, the challenge is profound. "Don Quixote is one of the most demanding technically," he states.
The Psychological Struggle and After the Show Emotions
How does he feel following a show, when he has succeeded? "It's pretty good," he says. "But because I'm trying to extract all the emotion out of it, and get lost in the role, quite often I do feel embarrassed afterwards. Following an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Is there? "I am very active usually, 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 Drivers and Creative Inspirations
Ball's determination originated in youthful setbacks. Not doing well in competitions at school made him "vengeful!" This became motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next challenge is creating his own choreography. In his view, "organic movement has value." "Breaking the conventions is interesting, 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 filled with meaning, drawing ideas from literature, music, and painting.
Intimate Performance and Personal Dynamic
He also favors staging 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 human, and they’re perspiring.'"
Ball has created 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 daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their home company, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his dance films and images that highlight a sculpted physique. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious 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." Did it lived up to his hopes? "I feel very aware of how life is a separate reality to the aspirations you made as a young person," he reflects. He likely has about ten years of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
