In the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs muscular beneath a plain tee. During performances, dancers can seem like powerful deities, yet often in person they are small. Not so Ball, whose tall stature is part of his popularity for princely roles and pas de deux work. With delicate traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was promoted each year, reaching the top rank of lead dancer in 2018. He has loved tackling substantial dramatic roles, particularly the emotional turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring role is as himself, in an "Evening With" series designed to offer behind-the-scenes perspectives into a dancer's craft. He will walk the crowd through a part, demonstrating his cognitive workflow while execution. Yet in lighter works, the test is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Struggle and After the Show Feelings
How does he feel following a performance, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the character, frequently I do feel embarrassed afterwards. After Mayerling I'm always like: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Is there? "I'm quite energetic usually, but I do have a dark side," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Artistic Inspirations
His determination originated in early setbacks. Not doing well in contests at school made him "driven!" 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.
An upcoming endeavor is making his own choreography. In his view, "organic movement has value." "Breaking the rules is compelling, 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 meaning, drawing ideas from literature, compositions, and painting.
Close-Up Performance and Private Partnership
He additionally is interested in staging dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They are not typically matched on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Image
On Instagram, followers can see clips from his dance films and photos that showcase a sculpted form. Does he care that the response can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball characterizes his younger self as "eager for success." Did it lived up to his hopes? "I am conscious of how life is a separate thing to the dreams you made as a young person," he muses. He probably has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
