In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his limbs defined beneath a simple tee. During performances, ballet dancers can appear like powerful gods, yet frequently offstage they are petite. Not so Ball, whose tall stature is part of his popularity for heroic roles and partnering. Possessing fine traits and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Top
Now 31, Ball is enjoying the peak of a career that has advanced seamlessly. Raised in Liverpool, he faced little ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was advanced each year, reaching the highest position of principal in 2018. He has relished taking on substantial dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next featured role is as himself, in an "In Conversation" event aiming to offer intimate perspectives into a performer's craft. He will guide the crowd through a role, demonstrating his mental process during performance. Yet in more comedic ballets, the test is profound. "A classic ballet is one of the most demanding technically," he states.
The Psychological Struggle and Post-Performance Feelings
What about after a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get lost in the role, quite often I do feel self-conscious later. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker once remarked on a "sense 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 Influences
His determination originated in early setbacks. Not doing well in contests at school made him "driven!" 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 recalls.
An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Breaking the rules 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 loaded with substance, drawing inspiration 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 past experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not usually matched on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Image
On Instagram, followers can see videos from his dance films and photos that showcase a sculpted form. Does he care that the response can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his early self as "eager for success." Did it lived up to his hopes? "I feel very aware of how life is a different thing to the dreams you made as a young person," he reflects. He likely has another decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
