Within the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his limbs muscular beneath a simple white T-shirt. During performances, dancers can appear as powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is part of his demand for heroic characters and pas de deux work. Possessing delicate traits and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Top
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced little ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the company and was advanced each year, attaining the top rank of lead dancer in 2018. He has loved taking on meaty characters, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring role is in a talk, in an "In Conversation" series designed to offer intimate perspectives into a dancer's craft. He will guide the crowd through a role, showing his mental process while execution. Even in lighter works, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Game and After the Show Feelings
What about after a performance, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, 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 dance maker previously observed on a "kind of suffering in him." Is there? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Drivers and Artistic Inspirations
His determination originated in youthful experiences. Not excelling in contests at school made him "driven!" It was fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the rules is interesting, but just acting 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 substance, drawing inspiration from books, compositions, and art.
Intimate Dance and Private Partnership
He also 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 audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined 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 videos from his dance films and photos that highlight a sculpted physique. Does he care that the response can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on various ways.
Ball characterizes his early self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how life is a separate reality to the dreams you had as a young person," he reflects. He likely has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
