In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his limbs muscular beneath a plain white T-shirt. On stage, ballet dancers can appear as powerful deities, yet often in person they are petite. Not so Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. With fine features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Joining the Royal Ballet School at 11, he graduated straight into the troupe and was promoted annually, attaining the highest position of lead dancer in 2018. He has relished taking on meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring role is as himself, in an "Evening With" event designed to offer behind-the-scenes perspectives into a performer's art. He will guide the crowd through a role, demonstrating his cognitive process during execution. Yet in lighter ballets, the challenge is profound. "Don Quixote is one of the toughest from a skill perspective," he states.
The Psychological Game and Post-Performance Emotions
How does he feel after a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed afterwards. After an intense role I'm always like: God, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. But a dance maker previously 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 negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Artistic Inspirations
His determination originated in youthful experiences. Not doing well in contests at school made him "driven!" It was 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 obsessive," he remembers.
An upcoming endeavor is creating his own dance works. For Ball, "organic movement has value." "Challenging 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 filled with meaning, drawing ideas from literature, music, and painting.
Close-Up Performance and Personal Partnership
He also is interested in presenting dance in more intimate spaces. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made duets 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 was like Dirty Dancing." The couple aren’t usually paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Physical Image
On social media, followers can see videos from his dance films and images that showcase a sculpted physique. Does he mind that the engagement can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—something that can be interpreted on multiple ways.
Ball characterizes his early self as "eager for success." Did it met his expectations? "I am conscious of how life is a different reality to the dreams you had as a child," he muses. He probably has another decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
