In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his arms muscular beneath a plain white T-shirt. On stage, ballet dancers can appear like powerful deities, yet frequently offstage they are small. Not so Ball, whose height is one reason for his popularity for heroic roles and partnering. Possessing delicate traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Raised in Liverpool, he encountered little ridicule for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was advanced each year, attaining the highest position of lead dancer in 2018. He has loved tackling meaty dramatic roles, particularly the psychological angst found in a famed choreographer'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" event aiming to offer intimate insights into a dancer's art. He will guide the audience through a role, showing his mental process during execution. Yet in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he states.
The Mental Game and Post-Performance Feelings
What about following a show, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the character, quite often I do feel embarrassed afterwards. Following an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer previously observed on a "sense of suffering in him." Is there? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Drivers and Creative Influences
His tenacity originated in early setbacks. Not doing well in competitions at school made him "driven!" It was fuel to demonstrate 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 creating his own choreography. In his view, "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 substance, drawing inspiration from books, compositions, and art.
Intimate Dance and Personal Partnership
He also favors presenting dance in more intimate venues. "It was just really exciting," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically matched on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his dance films and images that highlight a sculpted physique. Does he mind that the response can be a bit 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—an object that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Did it met his expectations? "I am conscious of how life is a different reality to the dreams you had as a young person," he reflects. He probably has about ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
