In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally upright, his limbs defined beneath a plain tee. During performances, dancers can appear like mighty gods, yet frequently offstage they are small. This is not true for Ball, whose height is one reason for his popularity for heroic roles and pas de deux work. Possessing fine features and intense eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Top
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced little ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was promoted each year, attaining the highest position of lead dancer in 2018. He has relished taking on meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is as himself, in an "In Conversation" series designed to offer intimate perspectives into a dancer's craft. He will walk the crowd through a part, demonstrating his mental process while execution. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the toughest technically," he states.
The Mental Game and Post-Performance Feelings
How does he feel following a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker previously observed on a "kind of suffering in him." Does this exist? "I'm quite energetic 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 catalyst for positive change."
Formative Motivations and Artistic Inspirations
Ball's determination stemmed from early experiences. Not excelling in competitions at school made him "driven!" It was fuel to prove he could succeed. 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 creating his own choreography. For Ball, "organic movement has value." "Challenging the conventions is compelling, 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 inspiration from literature, music, and art.
Intimate Dance and Private Dynamic
He also favors staging dance in smaller venues. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not typically 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 notes. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Perception
On social media, followers can see videos from his dance films and images that highlight a sculpted form. Does he care that the response can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his younger self as "desperate for success." Did it lived up to his hopes? "I am conscious of how life is a different thing to the dreams you had as a child," he muses. He probably has about decade of performing left. "I suppose in the future, I want to be a bit more kind with myself."
