In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his arms muscular beneath a simple tee. During performances, dancers can seem as powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose height is part of his popularity for heroic characters and pas de deux work. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was advanced annually, reaching the highest position of lead dancer in 2018. He has loved tackling substantial dramatic roles, particularly the emotional angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next starring role is in a talk, in an "Evening With" event designed to offer intimate perspectives into a dancer's craft. He will walk the crowd through a part, demonstrating his mental workflow during performance. Yet in lighter works, the test is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Mental Game and Post-Performance Feelings
How does he feel after a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer once remarked on a "sense 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 catalyst for good change."
Formative Motivations and Creative Inspirations
Ball's tenacity stemmed from early experiences. Not excelling in contests at school made him "driven!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is compelling, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be loaded with meaning, drawing inspiration from books, compositions, and painting.
Intimate Performance and Private Dynamic
He also is interested in staging dance in more intimate spaces. "It was just really exciting," he says of a past experience. "You’re so close 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 lead dancer Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a daring 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. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On social media, fans can see videos from his projects and photos that showcase a sculpted physique. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Did it met his hopes? "I feel very aware of how life is a different thing to the dreams you made as a child," he reflects. He probably has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
