Within the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is naturally upright, his arms muscular beneath a simple tee. During performances, dancers can seem like mighty deities, yet frequently in person they are small. Not so Ball, whose tall stature is one reason for his popularity for princely characters and pas de deux work. With fine features and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was promoted each year, reaching the top rank of lead dancer in 2018. He has relished tackling substantial characters, especially 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 upcoming featured appearance is in a talk, in an "In Conversation" series designed to offer intimate insights into a performer's craft. He will walk the audience through a part, demonstrating his cognitive workflow while execution. Even in more comedic ballets, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Game and After the Show Emotions
What about following a show, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get lost in the role, quite often I do feel self-conscious later. Following Mayerling I'm always like: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a choreographer once remarked on a "kind of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Early Drivers and Artistic Influences
His determination stemmed from youthful experiences. Not excelling in competitions at school made him "vengeful!" This became 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 recalls.
An upcoming challenge is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is interesting, but just acting 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, compositions, and painting.
Intimate Performance and Personal Dynamic
He additionally is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, followers can see clips from his dance films and images that highlight a athletic form. Does he care that the engagement can be somewhat objectifying? Not really. "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—something that can be seen on multiple levels.
Ball characterizes his younger self as "desperate for success." Did it met his hopes? "I feel very aware of how reality is a separate reality to the aspirations you had as a child," he muses. He likely has another decade of dancing left. "I suppose in the future, I want to be a bit more kind with myself."
