Within the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his limbs muscular beneath a simple tee. During performances, dancers can appear like powerful gods, yet often offstage they are petite. Not so Ball, whose tall stature is one reason for his demand for princely roles and partnering. With delicate traits and intense eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Top
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he faced minimal teasing for his early passion in ballet. Entering the Royal Ballet School at 11, he moved straight into the troupe and was advanced each year, attaining the highest position of lead dancer in 2018. He has relished tackling substantial dramatic roles, 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 featured role is in a talk, in an "Evening With" event aiming to offer intimate perspectives into a dancer's art. He will guide the crowd through a role, showing his mental process during performance. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Game and Post-Performance Feelings
What about after a performance, when he has pulled it off? "It feels pretty good," he admits. "However 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. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker once observed on a "sense of suffering in him." Is there? "I am very 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 Inspirations
His tenacity stemmed from youthful setbacks. Not excelling in contests at school made him "driven!" It was fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
The next endeavor is creating his own choreography. For Ball, "there's nothing wrong with." "Breaking the conventions is compelling, but just pretending that they’re not a thing 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, music, and painting.
Close-Up Performance and Personal Dynamic
He also favors staging dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of trust 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 paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Bodily Image
On social media, followers can see videos from his dance films and photos that highlight a sculpted form. 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 protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball characterizes his younger self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a separate thing to the dreams you had as a child," he muses. He likely has about ten years of performing ahead. "I guess in the future, I want to be a bit more kind with myself."
