In the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs defined beneath a simple white T-shirt. On stage, ballet dancers can appear like mighty gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is one reason for his popularity for princely roles and partnering. Possessing fine features and intense eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Top
At 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted each year, reaching the highest position of lead dancer in 2018. He has loved tackling meaty dramatic roles, especially the psychological turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is in a talk, in an "Evening With" event designed to offer intimate insights into a dancer's art. He will walk the audience through a part, showing his mental workflow during execution. Yet in more comedic ballets, the test is profound. "A classic ballet is one of the toughest technically," he notes.
The Mental Struggle and Post-Performance Feelings
How does he feel after a show, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get lost in the role, frequently I do feel self-conscious later. Following an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. Yet a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I am very active usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."
Formative Drivers and Artistic Influences
Ball's tenacity originated in youthful setbacks. Not excelling in competitions at school made him "driven!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next challenge is making his own choreography. For Ball, "organic movement has value." "Challenging the rules 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 meaning, drawing inspiration from books, music, and painting.
Intimate Dance and Private Partnership
He also is interested in presenting dance in more intimate spaces. "It was just really exciting," he says of a previous experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer 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 paired on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Image
On Instagram, followers can see clips from his projects and images that showcase a athletic physique. Does he care that the engagement can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
Ball characterizes his younger self as "desperate for success." Has it met his expectations? "I am conscious of how life is a different reality to the dreams you made as a young person," he reflects. He likely has about ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
