Within the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly upright, his limbs muscular beneath a simple tee. On stage, ballet dancers can seem as mighty gods, yet often in person they are small. This is not true for Ball, whose height is one reason for his demand for heroic characters and pas de deux work. With fine traits and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved straight into the troupe and was advanced each year, reaching the top rank of lead dancer in 2018. He has relished tackling meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next starring appearance is as himself, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a performer's craft. He will walk the crowd through a part, demonstrating his mental workflow during performance. Yet in more comedic works, the test is profound. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Struggle and Post-Performance Emotions
What about following a show, when he has succeeded? "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, quite often I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, 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 energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Artistic Influences
His determination originated in early setbacks. Not excelling in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own dance works. In his view, "organic movement has value." "Breaking the conventions is compelling, 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, music, and art.
Close-Up Performance and Private Partnership
He additionally is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so close 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 level of faith between them is clear. "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 main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Image
On Instagram, followers can see videos from his dance films and photos that showcase a athletic form. Does he mind that the engagement can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—an object that can be interpreted on various ways.
Ball characterizes his younger self as "desperate for success." Did it met his expectations? "I feel very aware of how reality is a different thing to the aspirations you made as a young person," he reflects. He likely has another ten years of dancing ahead. "I suppose in the future, I want to be a bit more kind with myself."
