In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is effortlessly upright, his limbs muscular beneath a simple white T-shirt. On stage, dancers can appear like powerful gods, yet often in person they are small. Not so Ball, whose tall stature is one reason for his demand for heroic roles and partnering. Possessing fine traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted each year, reaching the highest position of lead dancer in 2018. He has loved taking on substantial characters, particularly the psychological angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured appearance is in a talk, in an "Evening With" series designed to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a part, demonstrating his cognitive process while performance. Yet in more comedic works, the test is profound. "A classic ballet is one of the most demanding technically," he states.
The Mental Game and After the Show Feelings
How does he feel following a show, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the role, quite often I do feel embarrassed later. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Does this exist? "I'm quite active in general, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Creative Inspirations
Ball's determination originated in early experiences. Not doing well in competitions at school made him "driven!" It was fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is creating his own choreography. For Ball, "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 substance, drawing ideas from books, music, and painting.
Intimate Performance and Personal Partnership
He also is interested in staging dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple are not usually matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his dance films and images that showcase a sculpted form. Does he care that the engagement can be a bit objectifying? Not really. "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 ways.
Ball describes his younger self as "desperate for success." Has it met his expectations? "I feel very aware of how life is a different thing to the aspirations you had as a young person," he reflects. He probably has about ten years of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
