In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his arms defined beneath a simple white T-shirt. On stage, ballet dancers can appear as powerful gods, yet often in person they are small. This is not true for Ball, whose tall stature is part of his popularity for princely characters and partnering. With fine 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 crest of a career that has progressed smoothly. Raised in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Entering the Royal Ballet School at 11, he graduated directly into the company and was promoted annually, attaining the highest position of lead dancer in 2018. He has relished taking on substantial dramatic roles, particularly the emotional angst found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" series aiming to offer intimate insights into a dancer's craft. He will walk the audience through a role, demonstrating his cognitive workflow while performance. Even in lighter works, the challenge is profound. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Psychological Game and After the Show Feelings
What about after a show, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel embarrassed later. Following Mayerling I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Early Drivers and Creative Influences
His determination originated in youthful setbacks. Not excelling in contests at school made him "driven!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
The next endeavor is making his own choreography. In his view, "organic movement has value." "Breaking the conventions 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 loaded with meaning, drawing ideas from books, compositions, and art.
Intimate Dance and Personal Dynamic
He also is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a previous show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created duets with his partner, 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 main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Perception
On social media, fans can see clips from his projects and photos that showcase a sculpted form. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—an object that can be interpreted on various ways.
Ball describes his younger self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how life is a different thing to the aspirations you had as a child," he reflects. He likely has another decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
