In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his limbs muscular beneath a plain tee. During performances, dancers can appear like powerful deities, yet often in person they are small. Not so Ball, whose tall stature is one reason for his demand for princely characters and partnering. Possessing delicate features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered minimal teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was promoted each year, attaining the highest position of lead dancer in 2018. He has relished taking on meaty characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is as himself, in an "In Conversation" event aiming to offer intimate insights into a dancer's art. He will guide the audience through a part, demonstrating his cognitive process while performance. Yet in more comedic works, the challenge is significant. "Don Quixote is one of the toughest from a skill perspective," he states.
The Psychological Game and Post-Performance Feelings
How does he feel following a show, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Drivers and Artistic Influences
His tenacity stemmed from early experiences. Not doing well in contests at school made him "vengeful!" It was fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
The next endeavor is creating his own choreography. In his view, "organic movement has value." "Breaking the conventions 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 aims his work to be filled with substance, drawing inspiration from books, music, and painting.
Close-Up Performance and Personal Partnership
He also favors presenting dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They are not typically matched on stage at their main theater, which might be 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 biggest supporter."
Regarding Instagram and Bodily Perception
On Instagram, fans can see videos from his dance films and images that highlight a sculpted form. Does he care that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—an object that can be seen on various levels.
Ball describes his early self as "desperate for success." Has it lived up to his expectations? "I feel very aware of how life is a different thing to the dreams you made as a young person," he reflects. He likely has another decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
