In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs muscular beneath a simple white T-shirt. On stage, dancers can seem as mighty gods, yet often offstage they are petite. This is not true for Ball, whose height is one reason for his demand for heroic roles and partnering. Possessing delicate traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he graduated directly into the company and was promoted annually, attaining the top rank of lead dancer in 2018. He has relished taking on substantial characters, particularly the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes insights into a dancer's craft. He will guide the crowd through a role, showing his cognitive workflow while performance. Even in lighter works, the challenge is profound. "Don Quixote is one of the toughest technically," he states.
The Psychological Game and After the Show 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 character, quite often I do feel self-conscious later. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. But a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Early Drivers and Artistic Inspirations
His determination originated in youthful setbacks. Not excelling in competitions at school made him "driven!" It was motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
The next endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging 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 wants his work to be filled with substance, drawing ideas from books, music, and painting.
Close-Up Performance and Private Partnership
He additionally favors presenting dance in smaller venues. "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 person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer 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." They are not typically paired on stage at their home company, which might be 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."
Regarding Instagram and Bodily Perception
On Instagram, fans can see videos from his dance films and images that showcase a athletic form. Does he care that the response can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
Ball characterizes his younger self as "eager for success." Did it lived up to his hopes? "I feel very aware of how reality is a different thing to the aspirations you made as a young person," he muses. He probably has about decade of performing left. "I suppose in the future, I want to be a bit more gentle with myself."
