Within the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms defined beneath a plain white T-shirt. During performances, dancers can appear like mighty deities, yet frequently offstage they are small. Not so Ball, whose tall stature is one reason for his demand for heroic characters and partnering. Possessing 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 experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early passion in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was advanced each year, reaching the top rank of lead dancer in 2018. He has relished tackling meaty dramatic roles, especially the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is in a talk, in an "In Conversation" series aiming to offer intimate insights into a performer's art. He will guide the crowd through a role, demonstrating his cognitive process while performance. Yet in lighter ballets, the challenge is significant. "Don Quixote is one of the toughest technically," he states.
The Mental Struggle and Post-Performance Feelings
How does he feel after a show, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, frequently I do feel self-conscious afterwards. Following an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer previously observed on a "kind of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Motivations and Artistic Inspirations
His tenacity stemmed from youthful setbacks. Not excelling in contests at school made him "vengeful!" It was fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging the rules 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 wants his work to be filled with substance, drawing ideas from literature, music, and art.
Close-Up Performance and Personal Dynamic
He additionally is interested in staging dance in smaller spaces. "It was just really exciting," he says of a previous experience. "You’re so close 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 principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not usually matched on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Physical Image
On social media, fans can see videos from his dance films and images that highlight a sculpted physique. Does he care that the engagement can be somewhat focused on appearance? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen 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 reality is a separate reality to the aspirations you made as a child," he muses. He likely has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
