In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his arms muscular beneath a plain white T-shirt. During performances, dancers can seem as powerful gods, yet frequently offstage they are petite. Not so Ball, whose tall stature is part of his popularity for heroic roles and partnering. With delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he faced minimal teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was promoted annually, reaching the highest position of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the emotional turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring appearance is as himself, in an "Evening With" event aiming to offer intimate perspectives into a dancer's art. He will guide the crowd through a role, demonstrating his mental workflow while performance. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Game and Post-Performance Emotions
How does he feel after a performance, 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 role, quite often I do feel self-conscious later. After Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick 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 confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Early Drivers and Artistic Influences
His tenacity originated in early 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 flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming endeavor is creating his own dance works. 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 aims his work to be loaded with substance, drawing ideas from books, music, and art.
Close-Up Performance and Personal Dynamic
He also is interested in presenting 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 person, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their home company, which is perhaps healthy. "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 biggest cheerleader."
Regarding Instagram and Physical Image
On Instagram, followers can see videos from his dance films and photos that showcase a sculpted form. Does he mind that the engagement 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 explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Has it met his expectations? "I feel very aware of how life is a separate reality to the dreams you made as a child," he reflects. He likely has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."