Within the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his arms muscular beneath a plain tee. On stage, dancers can appear as mighty gods, yet frequently in person they are petite. This is not true for Ball, whose height is one reason for his popularity for princely roles and pas de deux work. With delicate traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal teasing for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was advanced each year, reaching the highest position of lead dancer in 2018. He has loved taking on substantial characters, particularly the psychological turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is as himself, in an "Evening With" event aiming to offer intimate insights into a performer's craft. He will guide the crowd through a part, demonstrating his cognitive process while performance. Even in lighter works, the test is profound. "A classic ballet is one of the toughest technically," he states.
The Mental Game and Post-Performance Emotions
What about following a show, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed afterwards. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Is there? "I am very energetic in general, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Early Motivations and Creative Inspirations
His determination stemmed from early experiences. Not excelling in competitions at school made him "vengeful!" This became fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next endeavor is making his own dance works. In his view, "organic movement has value." "Challenging 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 aims his work to be loaded with substance, drawing inspiration from books, compositions, and painting.
Close-Up Dance 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 person, and they’re sweating.'"
Ball has created pieces 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 audacious lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Image
On Instagram, followers can see videos from his projects and photos that showcase a athletic physique. Does he care that the response can be a bit focused on appearance? Not particularly. "The body is just what we work with, 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 various ways.
Ball characterizes his early self as "desperate for success." Has it lived up to his expectations? "I feel very aware of how life is a different reality to the aspirations you had as a young person," he reflects. He probably has about ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
