In the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally upright, his limbs muscular beneath a plain tee. During performances, dancers can seem like mighty deities, yet frequently in person they are petite. Not so Ball, whose tall stature is one reason for his demand for princely characters and partnering. With fine features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Growing up in Liverpool, he faced minimal ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted each year, attaining the highest position of lead dancer in 2018. He has relished taking on meaty characters, particularly the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next starring appearance is as himself, in an "In Conversation" event designed to offer intimate perspectives into a dancer's craft. He will guide the crowd through a role, showing his mental process while performance. Even in more comedic works, the challenge is significant. "A classic ballet is one of the toughest technically," he notes.
The Mental Game and Post-Performance Feelings
What about after a show, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. After Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Does this exist? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Early Drivers and Creative Influences
Ball's tenacity originated in early setbacks. Not excelling in contests 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 flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the rules 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 aims his work to be filled with substance, drawing inspiration from literature, music, and art.
Intimate Performance and Private Partnership
He also favors staging dance in smaller 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 pieces with his partner, fellow lead dancer Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not typically matched on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Image
On social media, followers can see clips from his projects and images that highlight a athletic physique. Does he care that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—something that can be seen on various ways.
Ball describes his younger self as "eager for success." Did it lived up to his expectations? "I feel very aware of how reality is a separate reality to the dreams you made as a child," he muses. He probably has about ten years of dancing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
