In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a plain white T-shirt. On stage, dancers can appear as mighty deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is part of his popularity for princely characters and partnering. With delicate features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Raised in Liverpool, he faced minimal ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted each year, attaining the top rank of lead dancer in 2018. He has relished taking on meaty dramatic roles, especially 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 next starring role is in a talk, in an "Evening With" series aiming to offer intimate perspectives into a performer's art. He will guide the crowd through a role, demonstrating his cognitive process while performance. Even in more comedic works, the challenge is profound. "Don Quixote is one of the toughest technically," he states.
The Psychological Game and Post-Performance Emotions
How does he feel following a show, 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 embarrassed afterwards. Following Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Early Motivations and Creative Influences
His determination originated in youthful experiences. Not excelling in contests at school made him "driven!" It was motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.
The next challenge is making his own dance works. In his view, "organic movement has value." "Breaking the rules 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 meaning, drawing inspiration from books, music, and art.
Intimate Dance and Private Dynamic
He also favors staging dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their home company, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Image
On social media, fans can see videos from his projects and images that showcase a athletic form. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball describes his early self as "eager for success." Has it lived up to his hopes? "I feel very aware of how life is a different thing to the dreams you made as a young person," he reflects. He likely has another decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
