In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally upright, his arms defined beneath a simple white T-shirt. On stage, dancers can appear like mighty gods, yet frequently in person they are small. This is not true for Ball, whose tall stature is part of his popularity for heroic roles and pas de deux work. With fine features and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he encountered little ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he graduated directly into the troupe and was promoted annually, reaching the highest position of lead dancer in 2018. He has loved taking on meaty characters, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next featured role is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's craft. He will walk the audience through a role, demonstrating his cognitive workflow during performance. Yet in lighter works, the challenge is profound. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Mental Struggle and After the Show Feelings
What about after a performance, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get immersed in the character, frequently I do feel self-conscious later. Following Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Formative Drivers and Artistic Influences
Ball's tenacity originated in early setbacks. Not excelling in contests at school made him "driven!" It was fuel to demonstrate he could succeed. 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 challenge is creating his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is compelling, but just pretending 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 filled with meaning, drawing inspiration from books, compositions, and art.
Intimate Dance and Private Partnership
He additionally is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually paired on stage at their main theater, which is perhaps beneficial. "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 supporter."
Regarding Instagram and Physical Perception
On Instagram, fans can see clips from his dance films and images that highlight a sculpted form. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be seen on multiple ways.
Ball describes his younger self as "desperate for success." Did it lived up to his hopes? "I am conscious of how reality is a separate thing to the aspirations you made as a child," he reflects. He likely has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
