In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's posture is naturally upright, his limbs defined beneath a plain white T-shirt. During performances, ballet dancers can appear as mighty deities, 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. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Top
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was promoted each year, attaining the top rank of lead dancer in 2018. He has relished taking on meaty dramatic roles, especially the emotional turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured role is as himself, in an "Evening With" series designed to offer behind-the-scenes perspectives into a performer's craft. He will guide the audience through a part, showing his mental workflow during execution. Yet in more comedic works, the challenge is profound. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Struggle and Post-Performance Feelings
How does he feel after a show, 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, frequently I do feel embarrassed later. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker previously observed 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 doubt has been an instigator for positive change."
Early Drivers and Artistic Inspirations
His determination originated in youthful experiences. Not doing well in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own choreography. In his view, "there's nothing wrong with." "Challenging the conventions is interesting, 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 loaded with meaning, drawing ideas from books, music, and art.
Intimate Performance and Private Dynamic
He additionally 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 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 level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."
On Social Media and Physical Perception
On social media, 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 focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—an object that can be seen on various levels.
Ball describes 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 dreams you had as a child," he muses. He likely has another decade of performing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
