Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. On stage, ballet dancers can appear like powerful gods, yet often offstage they are petite. This is not true for Ball, whose height is part of his demand for princely roles and partnering. Possessing delicate traits and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he faced little teasing for his early interest in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was promoted each year, attaining the top rank of lead dancer in 2018. He has loved tackling meaty characters, especially the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a performer's craft. He will walk the audience through a part, demonstrating his cognitive workflow during performance. Even in lighter works, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Mental Game and After the Show Emotions
How does he feel following a performance, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, quite often I do feel embarrassed later. After Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Is there? "I'm quite active in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Early Drivers and Creative Inspirations
His tenacity originated in early experiences. Not doing well in competitions at school made him "vengeful!" This became fuel 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 fanatical," he recalls.
The next challenge is creating his own dance works. In his view, "there's nothing wrong with." "Breaking the rules is interesting, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be loaded with meaning, drawing inspiration from literature, compositions, and painting.
Close-Up Dance and Private Dynamic
He also favors presenting dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t usually matched on stage at their home company, which is perhaps 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."
Regarding Instagram and Physical Perception
On social media, fans can see videos from his projects and images that showcase a athletic form. 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 explains. He compares it to seeing Michelangelo’s David—an object that can be interpreted on various ways.
Ball describes his younger self as "desperate for success." Did it lived up to his hopes? "I am conscious of how reality is a separate reality to the aspirations you made as a child," he reflects. He likely has about decade of dancing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
