Within the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms defined beneath a plain white T-shirt. On stage, ballet dancers can appear as mighty gods, yet frequently offstage they are small. This is not true for Ball, whose tall stature is one reason for his popularity for princely roles and partnering. Possessing fine features and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal teasing for his childhood passion in ballet. Joining the Royal Ballet School at 11, he graduated directly into the company and was advanced annually, attaining the highest position of lead dancer in 2018. He has relished taking on meaty characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is in a talk, in an "Evening With" series aiming to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a role, demonstrating his cognitive process during execution. Even in lighter ballets, the challenge is profound. "Don Quixote is one of the toughest from a skill perspective," he notes.
The Mental Game and After the Show Feelings
What about after a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Early Drivers and Creative Influences
Ball's determination originated in youthful setbacks. Not doing well in competitions at school made him "vengeful!" This became fuel to demonstrate he could achieve. 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 endeavor is creating his own dance works. For Ball, "there's nothing wrong with." "Challenging the conventions 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, music, and painting.
Close-Up Dance and Private Partnership
He also is interested in presenting dance in more intimate 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 made duets with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "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 main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On Instagram, fans can see clips from his projects and images that showcase a athletic physique. Does he care that the response can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on various levels.
Ball describes his early self as "eager for success." Has it met his expectations? "I am conscious of how reality is a different thing to the aspirations you had as a young person," he muses. He likely has another ten years of performing left. "I guess in the future, I want to be a bit more gentle with myself."
