In the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his arms muscular beneath a plain white T-shirt. On stage, ballet dancers can appear as mighty deities, yet frequently offstage they are small. Not so Ball, whose height is one reason for his demand for princely roles and partnering. With delicate features and intense eyes, there's a touch 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 seamlessly. Growing up in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was advanced annually, reaching the top rank of lead dancer in 2018. He has loved tackling meaty dramatic roles, especially the emotional angst found in a famed choreographer's ballets.
"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 "Evening With" event aiming to offer behind-the-scenes perspectives into a dancer's art. He will guide the crowd through a part, demonstrating his mental process while execution. Even in more comedic ballets, the challenge is profound. "Don Quixote is one of the toughest from a skill perspective," he states.
The Mental Game and Post-Performance Feelings
How does he feel following a performance, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, quite often I do feel embarrassed later. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a choreographer once observed on a "kind of suffering in him." Does this exist? "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 doubt has been an catalyst for positive change."
Formative Motivations and Creative Inspirations
His determination stemmed from youthful setbacks. Not excelling in contests at school made him "driven!" This became motivation to prove he could achieve. 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 meaning, drawing ideas from literature, music, and art.
Close-Up Dance and Private Partnership
He also is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On social media, followers can see clips from his dance films and images that highlight a sculpted form. Does he care that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his younger self as "desperate for success." Did it lived up to his expectations? "I am conscious of how reality is a separate reality to the dreams you had as a child," he muses. He likely has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
