Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his limbs muscular beneath a simple white T-shirt. During performances, dancers can seem like powerful gods, yet frequently in person they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. Possessing fine features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed smoothly. Raised in Liverpool, he encountered little ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was promoted each year, attaining the highest position of lead dancer in 2018. He has relished tackling substantial characters, particularly the emotional angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring role is as himself, in an "Evening With" event aiming to offer behind-the-scenes perspectives into a performer's craft. He will walk the audience through a role, demonstrating his cognitive process while performance. Even in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.
The Psychological Game and Post-Performance Emotions
What about after a performance, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel self-conscious later. After Mayerling I'm always like: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Early Drivers and Creative Inspirations
His determination stemmed from early setbacks. Not excelling in contests at school made him "driven!" This became 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 remembers.
An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging the conventions is interesting, but just pretending 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 ideas from literature, compositions, and painting.
Close-Up Dance and Personal Dynamic
He also favors staging dance in more intimate spaces. "It was just really exciting," he says of a previous experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of trust 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 paired on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Perception
On social media, followers can see videos from his dance films and images that highlight a athletic physique. Does he mind that the engagement can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be seen on various ways.
Ball characterizes his younger self as "eager for success." Has it lived up to his expectations? "I feel very aware of how reality is a different reality to the dreams you made as a child," he reflects. He likely has about ten years of dancing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
