Within the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can appear like powerful deities, yet often in person they are petite. Not so Ball, whose tall stature is one reason for his demand for heroic characters and pas de deux work. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced little ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he graduated directly into the troupe and was promoted each year, reaching the top rank of lead dancer in 2018. He has relished taking on meaty dramatic roles, especially the psychological angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured role is in a talk, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will walk the crowd through a part, demonstrating his mental workflow while performance. Even in more comedic ballets, the test is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Game and After the Show Emotions
What about following a show, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer once observed on a "kind of suffering in him." Is there? "I am very active in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Early Motivations and Artistic Influences
His determination stemmed from youthful experiences. Not excelling in contests at school made him "vengeful!" It was motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is making his own dance works. In his view, "there's nothing wrong with." "Challenging the conventions is compelling, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be loaded with meaning, drawing ideas from books, compositions, and art.
Close-Up Dance and Personal Dynamic
He additionally favors staging dance in more intimate spaces. "It was just really thrilling," he says of a previous experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t usually matched on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Physical Perception
On social media, followers can see videos from his projects and photos that showcase a sculpted physique. Does he mind that the response can be somewhat 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—an object that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Has it met his expectations? "I am conscious of how life is a separate reality to the aspirations you had as a young person," he reflects. He probably has another decade of performing left. "I guess in the future, I want to be a bit more gentle with myself."
