Within the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is effortlessly upright, his arms muscular beneath a simple white T-shirt. During performances, dancers can appear as mighty gods, yet often offstage they are small. Not so Ball, whose height is one reason for his popularity for heroic characters and pas de deux work. With fine features and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced minimal ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he moved straight into the troupe and was advanced annually, reaching the top rank of lead dancer in 2018. He has relished tackling substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes insights into a performer's art. He will walk the crowd through a role, demonstrating his mental workflow while performance. Even in lighter works, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Game and Post-Performance Emotions
How does he feel following a performance, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel self-conscious later. Following Mayerling I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Is there? "I'm quite active in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Early Drivers and Creative Influences
His determination originated in youthful experiences. Not doing well in competitions at school made him "vengeful!" It was motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is creating his own dance works. For Ball, "organic movement has value." "Challenging the rules is compelling, but just acting 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 meaning, drawing inspiration from literature, music, and art.
Intimate Dance and Personal Dynamic
He additionally is interested in presenting dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They are not usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Physical Image
On social media, fans can see clips from his dance films and photos that highlight a sculpted physique. Does he care that the engagement can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
Ball describes his younger self as "eager for success." Has it met his expectations? "I am conscious of how reality is a separate reality to the aspirations you made as a child," he muses. He likely has about decade of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."
