Within the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his limbs muscular beneath a plain white T-shirt. On stage, dancers can appear like powerful deities, yet frequently offstage they are small. Not so Ball, whose height is one reason for his popularity for heroic characters and partnering. With delicate traits and intense eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was promoted each year, reaching the highest position of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next starring role is as himself, in an "In Conversation" event designed to offer intimate insights into a dancer's craft. He will walk the crowd through a role, showing his cognitive process during execution. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Game and Post-Performance Feelings
What about following a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. Following Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a choreographer once remarked on a "kind of suffering in him." Is there? "I'm quite active 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 instigator for good change."
Formative Motivations and Artistic Inspirations
Ball's determination originated in early experiences. Not excelling in contests at school made him "vengeful!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," 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 pretending that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be loaded with meaning, drawing ideas from books, music, and art.
Close-Up Performance and Personal Partnership
He additionally is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically matched on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Physical Image
On Instagram, fans can see clips from his projects and photos that highlight a athletic form. Does he care that the response 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 explains. He relates it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his early self as "desperate for success." Did it lived up to his hopes? "I am conscious of how life is a different reality to the dreams you made as a young person," he reflects. He likely has another decade of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
