In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his limbs defined beneath a plain tee. During performances, dancers can seem like mighty gods, yet frequently in person they are small. This is not true for Ball, whose height is part of his popularity for heroic roles and partnering. With fine traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Top
Now 31, Ball is enjoying the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was promoted annually, reaching the top rank of lead dancer in 2018. He has relished tackling meaty characters, especially the psychological angst found in Kenneth MacMillan's works.
"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 "In Conversation" series aiming to offer intimate perspectives into a dancer's art. He will guide the crowd through a part, showing his cognitive workflow while execution. Even in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Psychological Game and After the Show Emotions
What about following a performance, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel self-conscious later. Following an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Is there? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative 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 succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next challenge is creating his own dance works. For Ball, "organic movement has value." "Breaking the conventions 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 wants his work to be filled with meaning, drawing inspiration from literature, compositions, and art.
Intimate Dance and Personal Partnership
He additionally favors presenting dance in more intimate venues. "It was just really exciting," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They are not typically matched on stage at their main theater, which is perhaps 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 biggest supporter."
On Social Media and Bodily Perception
On social media, followers can see videos from his dance films and images that showcase a sculpted physique. Does he care that the response can be a bit focused on appearance? Not really. "The body is just what we use, 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 multiple ways.
Ball characterizes his younger self as "desperate for success." Did it met his expectations? "I feel very aware of how reality is a separate thing to the dreams you had as a child," he reflects. He likely has about decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
