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 plain white T-shirt. On stage, ballet dancers can seem like powerful gods, yet often offstage they are small. This is not true for Ball, whose height is one reason for his demand for princely characters and partnering. Possessing fine features and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced little teasing 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 highest position of lead dancer in 2018. He has loved taking on substantial characters, particularly the emotional angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured role is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes insights into a performer's craft. He will walk the audience through a part, demonstrating his mental workflow while execution. Yet in lighter ballets, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Mental Game and After the Show Emotions
What about following a performance, 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 immersed in the role, frequently I do feel embarrassed afterwards. After Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. Yet a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I'm quite active in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Early Drivers and Artistic Influences
Ball's determination stemmed from early setbacks. Not doing well in contests at school made him "driven!" This became motivation to demonstrate 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 recalls.
The next challenge is making his own dance works. In his view, "there's nothing wrong with." "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 substance, drawing ideas from books, music, and painting.
Intimate Dance and Private Dynamic
He additionally is interested in presenting dance in smaller venues. "It was just really exciting," he says of a past experience. "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 duets with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Perception
On Instagram, followers can see videos from his projects and photos that highlight a sculpted physique. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—something that can be seen on various levels.
Ball characterizes his younger self as "eager for success." Did it met his hopes? "I am conscious of how life is a separate thing to the aspirations you made as a child," he reflects. He likely has another ten years of performing ahead. "I guess in the future, I want to be a bit more kind with myself."
