Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is naturally upright, his limbs defined beneath a simple white T-shirt. During performances, dancers can seem as mighty deities, yet frequently in person they are small. This is not true for Ball, whose height is one reason for his demand for heroic roles and partnering. Possessing delicate features and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he encountered little teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was promoted each year, reaching the top rank of lead dancer in 2018. He has loved tackling meaty characters, particularly the psychological turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is in a talk, in an "In Conversation" event designed to offer intimate insights into a dancer's art. He will guide the audience through a role, demonstrating his mental workflow during execution. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Struggle and Post-Performance Feelings
What about following a show, 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 character, quite often I do feel embarrassed later. Following an intense role I'm always like: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer previously remarked on a "kind of suffering in him." Does this exist? "I am very active in general, but I do have a melancholy streak," 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 originated in early experiences. Not doing well in contests at school made him "driven!" This became fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is creating his own dance works. For Ball, "organic movement has value." "Breaking 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, compositions, and painting.
Close-Up Dance and Private Partnership
He additionally is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a past show. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically 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 biggest cheerleader."
Regarding Instagram and Physical Perception
On Instagram, followers can see videos from his projects and photos that highlight a sculpted physique. Does he mind that the response can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—an object that can be seen on multiple ways.
Ball describes his early 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 had as a child," he muses. He probably has about decade of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
