Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally upright, his limbs defined beneath a simple tee. During performances, ballet dancers can appear as powerful gods, yet frequently in person they are petite. Not so Ball, whose height is part of his demand for princely characters and pas de deux work. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Entering 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 substantial dramatic roles, especially the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's 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 audience through a part, demonstrating his mental workflow during execution. Yet in lighter ballets, the test is profound. "A classic ballet is one of the toughest technically," he states.
The Mental Struggle and Post-Performance Emotions
How does he feel following a show, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel embarrassed later. Following an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer previously remarked on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Formative Motivations and Artistic Influences
His determination stemmed from youthful experiences. Not excelling in contests at school made him "driven!" This became motivation to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
The next endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Breaking the conventions is interesting, 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 substance, drawing ideas from literature, compositions, and art.
Intimate Dance and Personal Partnership
He additionally is interested in staging 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 created duets with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Image
On Instagram, followers can see clips from his projects and photos that highlight a sculpted form. Does he mind that the response can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on various levels.
Ball describes his younger self as "eager for success." Did it met his hopes? "I am conscious of how reality is a different reality to the aspirations you made as a young person," he reflects. He likely has another ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
