In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his arms muscular beneath a plain tee. On stage, ballet dancers can appear like mighty deities, yet frequently in person they are small. Not so Ball, whose tall stature is part of his popularity for princely characters and pas de deux work. With fine features and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
At 31, Ball is enjoying the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced little ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was advanced annually, reaching the highest position of lead dancer in 2018. He has relished tackling 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."
His upcoming starring appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes insights into a performer's art. He will walk the audience through a part, demonstrating his cognitive process while performance. Yet in lighter works, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Game and After the Show Feelings
What about following a performance, when he has succeeded? "It feels 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 later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a dance maker previously observed on a "kind of suffering in him." Is there? "I'm quite energetic in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Artistic Influences
Ball's determination stemmed from youthful setbacks. Not doing well in contests at school made him "driven!" This became fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next endeavor is making his own dance works. In his view, "there's nothing wrong with." "Challenging the rules is interesting, 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 loaded with meaning, drawing ideas from books, compositions, and painting.
Close-Up Performance and Private Dynamic
He additionally is interested in presenting dance in smaller 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 realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple 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 notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Physical Image
On social media, followers can see clips from his dance films and images that showcase a athletic physique. Does he mind that the engagement can be a bit objectifying? Not really. "The body is just what we use, 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 levels.
Ball describes his younger self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how life is a different thing to the dreams you had as a young person," he muses. He likely has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
