Within the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his arms defined beneath a plain white T-shirt. During performances, dancers can seem like mighty gods, yet frequently offstage they are small. Not so Ball, whose tall stature is one reason for his demand for princely roles and partnering. With fine traits and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced little ridicule for his early interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the troupe and was promoted each year, attaining the highest position of lead dancer in 2018. He has loved taking on meaty dramatic roles, especially the emotional angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" series designed to offer behind-the-scenes insights into a dancer's art. He will walk the audience through a role, demonstrating his cognitive process during performance. Even in lighter ballets, the challenge is profound. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Game and After the Show Emotions
How does he feel following a performance, when he has succeeded? "It's pretty good," he says. "But because I'm trying to squeeze all the juice 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?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Motivations and Artistic Inspirations
His tenacity originated in youthful experiences. Not excelling in contests at school made him "driven!" It was motivation to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, 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 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 filled with substance, drawing inspiration from books, music, and painting.
Close-Up Performance and Personal Dynamic
He also is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not typically paired 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 notes. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Physical Perception
On Instagram, followers can see videos from his projects and photos that showcase a athletic form. Does he care that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple ways.
Ball characterizes his younger self as "eager for success." Has it met his expectations? "I feel very aware of how life is a separate reality to the aspirations you had as a child," he reflects. He likely has another decade of dancing left. "I suppose in the future, I want to be a bit more kind with myself."
