In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his arms muscular beneath a plain white T-shirt. On stage, dancers can seem like powerful gods, yet frequently offstage they are small. This is not true for Ball, whose tall stature is part of his popularity for princely roles and pas de deux work. Possessing fine features and intense eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is enjoying the peak of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the company and was advanced annually, attaining the highest position of lead dancer in 2018. He has relished tackling substantial characters, especially the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a performer's craft. He will guide the audience through a part, demonstrating his mental workflow while performance. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel following a show, when he has succeeded? "It's pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get lost in the role, frequently I do feel self-conscious later. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Drivers and Artistic Influences
His determination originated in early experiences. Not doing well in contests at school made him "driven!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
An upcoming challenge is making his own dance works. For Ball, "organic movement has value." "Challenging the rules is interesting, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be loaded with meaning, drawing ideas from books, compositions, and art.
Close-Up Performance and Personal Partnership
He additionally is interested in staging dance in more intimate spaces. "It was just really exciting," he says of a past show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not 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 favorite cheerleader."
Regarding Instagram and Bodily Perception
On social media, fans can see clips from his dance films and photos 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 states. He relates it to seeing Michelangelo’s David—something that can be seen on multiple levels.
Ball characterizes his younger self as "eager for success." Did it met his expectations? "I feel very aware of how reality is a different thing to the dreams you made as a child," he reflects. He likely has about ten years of dancing ahead. "I guess in the future, I want to be a bit more gentle with myself."
