In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is naturally upright, his arms muscular beneath a simple white T-shirt. On stage, ballet dancers can appear as powerful deities, yet frequently offstage they are petite. This is not true for Ball, whose height is one reason for his demand for princely characters and partnering. Possessing delicate features and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the company and was advanced annually, reaching the highest position of lead dancer in 2018. He has relished taking on meaty dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is in a talk, in an "Evening With" series designed to offer intimate perspectives into a performer's craft. He will guide the audience through a part, demonstrating his cognitive process during performance. Even in lighter works, the challenge is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Struggle and Post-Performance Feelings
What about following a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel self-conscious later. Following Mayerling I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Is there? "I'm quite energetic in general, but I do have a dark side," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Artistic Inspirations
Ball's tenacity originated in early setbacks. Not excelling in contests at school made him "driven!" It was fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Breaking the conventions 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 filled with meaning, drawing inspiration from books, compositions, and painting.
Close-Up Dance and Private Partnership
He also is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created 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 resembled Dirty Dancing." They are not usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Perception
On Instagram, fans can see videos from his projects and photos that showcase a athletic physique. Does he care that the response can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to seeing Michelangelo’s David—something that can be interpreted on various ways.
Ball characterizes his younger self as "desperate for success." Has it lived up to his hopes? "I am conscious of how life is a different reality to the dreams you had as a child," he muses. 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."
