Within the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his limbs muscular beneath a plain white T-shirt. During performances, dancers can seem as mighty deities, yet frequently in person they are petite. Not so Ball, whose height is one reason for his demand for princely characters and pas de deux work. With delicate traits and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he encountered little ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was promoted annually, reaching the highest position of lead dancer in 2018. He has loved tackling meaty dramatic roles, especially the psychological angst found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" event aiming to offer intimate perspectives into a performer's craft. He will walk the crowd through a role, demonstrating his cognitive workflow while performance. Yet in more comedic ballets, the test is profound. "Don Quixote is one of the most demanding technically," he states.
The Psychological Struggle and After the Show Feelings
What about after 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 Mayerling I'm always thinking: God, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a dance maker once observed on a "sense of suffering in him." Is there? "I'm quite active usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Creative Inspirations
His determination stemmed from early experiences. Not excelling in contests at school made him "driven!" This became fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own dance works. For Ball, "there's nothing wrong with." "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 substance, drawing inspiration from literature, music, and painting.
Intimate Dance and Private Dynamic
He additionally favors presenting dance in more intimate spaces. "It was just really thrilling," he says of a previous experience. "You’re so close to the audience. 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 faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his projects and images that showcase a athletic physique. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his younger self as "eager for success." Did it lived up to his expectations? "I am conscious of how reality is a different thing to the dreams you made as a young person," he muses. He probably has another ten years of performing ahead. "I guess in the future, I want to be a bit more gentle with myself."
