Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs muscular beneath a plain tee. During performances, dancers can appear like powerful gods, yet frequently offstage they are small. This is not true for Ball, whose tall stature is one reason for his demand for princely roles and pas de deux work. Possessing fine traits and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Top
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered little teasing for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was advanced annually, attaining the top rank of lead dancer in 2018. He has relished taking on substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring role is in a talk, in an "Evening With" series designed to offer intimate insights into a performer's art. He will guide the audience through a role, demonstrating his mental workflow while execution. Even in more comedic works, the challenge is profound. "A classic ballet is one of the most demanding technically," he states.
The Mental Struggle and Post-Performance Emotions
How does he feel after a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the juice 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, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Drivers and Creative Influences
Ball's tenacity originated in youthful experiences. Not doing well in contests at school made him "vengeful!" This became motivation to demonstrate 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 remembers.
An upcoming endeavor is making his own dance works. In his view, "there's nothing wrong with." "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 literature, compositions, and art.
Close-Up Dance and Personal Dynamic
He also is interested in staging dance in more intimate venues. "It was just really thrilling," he says of a previous show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Image
On social media, followers can see videos from his dance films and photos that showcase a sculpted form. Does he care that the response can be somewhat objectifying? Not particularly. "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—something that can be seen on various levels.
Ball describes his younger self as "eager for success." Did it lived up to his hopes? "I am conscious of how reality is a separate reality to the aspirations you had as a child," he reflects. He likely has about ten years of dancing ahead. "I suppose in the future, I want to be a bit more kind with myself."
