In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs muscular beneath a simple tee. During performances, dancers can appear like mighty deities, yet often in person they are petite. Not so Ball, whose tall stature is part of his popularity for heroic characters and pas de deux work. With delicate traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated straight into the company and was advanced annually, attaining the top rank of lead dancer in 2018. He has relished taking on substantial characters, particularly the emotional turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is as himself, in an "Evening With" series aiming to offer intimate perspectives into a dancer's art. He will guide the crowd through a part, showing his mental workflow during performance. Even in more comedic ballets, the test is significant. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Struggle and Post-Performance Emotions
How does he feel after a performance, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After an intense role I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Early Drivers and Artistic Inspirations
His determination originated in youthful setbacks. Not excelling in contests at school made him "driven!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming challenge is creating his own dance works. For Ball, "organic movement has value." "Challenging the rules 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 wants his work to be loaded with substance, drawing inspiration from literature, music, and painting.
Close-Up Dance and Personal Dynamic
He additionally is interested in staging dance in more intimate venues. "It was just really exciting," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of faith 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 paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest cheerleader."
On Social Media and Bodily Image
On social media, followers can see clips from his projects and images that highlight a sculpted form. Does he care that the engagement can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how reality is a separate reality to the aspirations you had as a young person," he reflects. He probably has about decade of performing left. "I guess in the future, I want to be a bit more kind with myself."
