Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is naturally straight-backed, his limbs defined beneath a simple white T-shirt. During performances, dancers can appear like mighty deities, yet often in person they are petite. Not so Ball, whose tall stature is one reason for his demand for heroic roles and partnering. Possessing fine features and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Top
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated straight into the company and was advanced each year, attaining the highest position of principal in 2018. He has relished tackling substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next featured appearance is as himself, in an "In Conversation" event designed to offer intimate insights into a dancer's art. He will walk the audience through a role, demonstrating his cognitive workflow while performance. Yet in more comedic ballets, the challenge is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.
The Mental Struggle and Post-Performance Feelings
What about following a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel self-conscious afterwards. After an intense role I'm always like: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a dance maker once observed on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Drivers and Creative Influences
Ball's tenacity 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 "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming endeavor is creating his own choreography. In his view, "organic movement has value." "Challenging the rules is compelling, 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 filled with meaning, drawing ideas from books, music, and painting.
Intimate Performance and Personal Partnership
He also is interested in staging dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They are not typically matched on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Physical Perception
On social media, followers can see clips from his dance films and images that showcase a sculpted form. Does he care that the response can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be seen on multiple levels.
Ball describes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how reality is a different reality to the dreams you made as a child," he reflects. He likely has about decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
