Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally upright, his arms defined beneath a simple white T-shirt. On stage, dancers can appear as mighty deities, yet often offstage they are small. This is not true for Ball, whose tall stature is part of his popularity for princely roles and partnering. Possessing delicate features and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he faced minimal ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was advanced each year, reaching the top rank of lead dancer in 2018. He has loved tackling substantial dramatic roles, particularly the emotional angst found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring appearance is in a talk, in an "Evening With" series designed to offer behind-the-scenes insights into a performer's art. He will guide the audience through a part, demonstrating his cognitive workflow while performance. Yet in more comedic works, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Struggle and Post-Performance Emotions
How does he feel after a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After Mayerling I'm always like: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Does this exist? "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 positive change."
Early Drivers and Creative Influences
His tenacity originated in early setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own dance works. For Ball, "there's nothing wrong with." "Breaking the conventions is interesting, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be loaded with meaning, drawing ideas from books, compositions, and art.
Intimate Performance and Private Partnership
He additionally favors staging dance in smaller spaces. "It was just really exciting," 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 perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They are not usually matched on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Image
On Instagram, followers can see clips from his projects and images that showcase a athletic physique. Does he care that the engagement can be somewhat objectifying? 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—something that can be interpreted on various levels.
Ball characterizes his early self as "desperate for success." Has it lived up to his hopes? "I am conscious of how life is a different reality to the aspirations you made as a child," he muses. He likely has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
