In the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can appear like powerful gods, yet often offstage they are small. This is not true for Ball, whose height is part of his demand for princely roles and partnering. With delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Top
At 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he faced minimal teasing for his early passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was advanced annually, reaching the top rank of lead dancer in 2018. He has relished tackling substantial characters, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is as himself, in an "Evening With" series aiming to offer intimate perspectives into a dancer's craft. He will walk the audience through a role, demonstrating his cognitive workflow while performance. Yet in more comedic ballets, the challenge is profound. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Psychological Struggle and After the Show Feelings
How does he feel following a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious later. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, polite, 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 dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Drivers and Artistic Inspirations
Ball's determination originated in youthful experiences. Not doing well in contests at school made him "driven!" It was 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 choreography. In his view, "there's nothing wrong with." "Breaking the rules is compelling, 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 loaded with meaning, drawing inspiration from books, compositions, and painting.
Close-Up Performance and Personal Dynamic
He also is interested in presenting dance in more intimate spaces. "It was just really exciting," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically matched on stage at their home company, 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 biggest cheerleader."
On Social Media and Bodily Perception
On Instagram, fans can see videos from his projects and images that highlight a sculpted physique. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we work with, 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 various levels.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how life is a separate thing to the dreams you had as a child," he reflects. He likely has another ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
