In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is naturally upright, his limbs defined beneath a plain white T-shirt. On stage, dancers can appear like mighty deities, yet often in person they are petite. This is not true for Ball, whose tall stature is part of his demand for heroic characters and pas de deux work. With fine features and intense eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he graduated directly into the company and was promoted each year, reaching the highest position of lead dancer in 2018. He has relished tackling meaty dramatic roles, particularly the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured role is in a talk, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will walk the audience through a role, demonstrating his mental workflow while execution. Even in more comedic works, the challenge is significant. "Don Quixote is one of the toughest technically," he notes.
The Mental Game and After the Show Feelings
How does he feel after a show, when he has succeeded? "It feels 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 embarrassed afterwards. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Does this exist? "I am very active usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Motivations and Creative Influences
Ball's determination stemmed from youthful setbacks. Not doing well in competitions at school made him "vengeful!" This became motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming endeavor is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is compelling, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be loaded with substance, drawing inspiration from literature, compositions, and painting.
Close-Up Performance and Personal Partnership
He also is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a previous experience. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Perception
On Instagram, fans can see clips from his dance films and images that showcase a sculpted physique. Does he mind that the engagement can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to viewing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his early self as "desperate for success." Has it lived up to his expectations? "I am conscious of how life is a separate reality to the dreams you had as a young person," he reflects. He probably has about decade of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
