In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his limbs muscular beneath a simple white T-shirt. On stage, dancers can seem as mighty gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is one reason for his demand for princely characters and pas de deux work. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was advanced each year, attaining the top rank of lead dancer in 2018. He has relished taking on substantial characters, particularly the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring role is as himself, in an "Evening With" event aiming to offer intimate perspectives into a performer's craft. He will walk the crowd through a part, showing his cognitive workflow while performance. Even in lighter works, the test is significant. "Don Quixote is one of the most demanding technically," he states.
The Psychological Game and After the Show Emotions
How does he feel following a show, when he has pulled it off? "It feels pretty good," he says. "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 afterwards. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Artistic Inspirations
Ball's tenacity stemmed from youthful setbacks. Not doing well in competitions at school made him "vengeful!" It was motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is interesting, but just acting 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 filled with meaning, drawing ideas from books, compositions, and art.
Close-Up Performance and Personal Partnership
He also favors staging dance in smaller venues. "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 human, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically matched on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Image
On social media, fans can see videos from his projects and photos that highlight a athletic form. Does he mind that the response can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be seen on multiple ways.
Ball describes his early self as "desperate for success." Has it lived up to his expectations? "I feel very aware of how life is a different thing to the aspirations you made as a young person," he reflects. He probably has about decade of performing left. "I suppose in the future, I want to be a bit more kind with myself."
