In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his limbs defined beneath a simple white T-shirt. On stage, dancers can appear as mighty gods, yet often in person they are petite. This is not true for Ball, whose height is part of his popularity for princely roles and partnering. Possessing delicate traits and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he encountered minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted annually, reaching the highest position of lead dancer in 2018. He has relished tackling meaty dramatic roles, especially the emotional turmoil found in a famed choreographer's ballets.
"Your breath is short, 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 intimate insights into a performer's art. He will walk the audience through a role, demonstrating his cognitive workflow during performance. Even in more comedic ballets, the challenge is profound. "Don Quixote is one of the toughest technically," he notes.
The Mental Game and Post-Performance Emotions
How does he feel after a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Is there? "I'm quite energetic usually, but I do have a dark side," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Creative Influences
His determination stemmed from youthful experiences. Not excelling in competitions at school made him "vengeful!" This became motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is creating his own dance works. For Ball, "there's nothing wrong with." "Challenging the rules is compelling, but just acting that they’re not a reality 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 literature, music, and painting.
Close-Up Performance and Personal Partnership
He additionally is interested in presenting dance in smaller 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 realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow lead dancer Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t typically 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."
On Social Media and Bodily Perception
On Instagram, fans can see videos from his projects and photos that highlight a sculpted physique. Does he mind that the engagement can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball characterizes his younger self as "eager for success." Has it met his expectations? "I feel very aware of how reality is a separate reality to the aspirations you had as a child," 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."
