Within the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is effortlessly upright, his limbs defined beneath a simple white T-shirt. During performances, dancers can appear as mighty deities, yet frequently in person they are petite. Not so Ball, whose height is one reason for his demand for heroic characters and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced little teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was advanced each year, attaining the highest position of lead dancer in 2018. He has loved taking on substantial characters, especially the emotional turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will guide the audience through a role, showing his cognitive process while execution. Yet in more comedic ballets, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Game and Post-Performance Feelings
How does he feel after a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker once 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 pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Motivations and Creative Influences
Ball's tenacity originated in youthful experiences. Not excelling 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 recalls.
The next challenge is creating his own choreography. For Ball, "organic movement has value." "Breaking 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 filled with substance, drawing inspiration from books, compositions, and art.
Close-Up Performance and Personal Partnership
He additionally favors staging dance in smaller 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 human, and they’re sweating.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On social media, followers can see clips from his dance films and images that showcase a sculpted form. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on various levels.
Ball characterizes his younger self as "desperate for success." Has it met his hopes? "I feel very aware of how life is a different reality to the dreams you had as a young person," he muses. He probably has about ten years of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
