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 arms muscular beneath a plain tee. During performances, ballet dancers can appear like powerful gods, yet often offstage they are small. This is not true for Ball, whose height is one reason for his demand for princely characters and partnering. With delicate features and intense eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he faced little teasing for his early passion in ballet. Joining the Royal Ballet School at 11, he graduated straight into the company and was advanced each year, reaching the highest position of lead dancer in 2018. He has loved tackling meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is as himself, in an "Evening With" event designed to offer intimate perspectives into a dancer's art. He will walk the audience through a part, showing his cognitive process during execution. Even in more comedic works, the test is profound. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Psychological Struggle and Post-Performance Feelings
What about after a show, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed later. Following Mayerling I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Does this exist? "I am very active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Motivations and Artistic Inspirations
His tenacity originated in youthful experiences. Not excelling in contests at school made him "vengeful!" This became fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming challenge is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is interesting, but just acting 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 meaning, drawing ideas from literature, music, and art.
Intimate Dance and Personal Partnership
He additionally favors 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 thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their home company, which is perhaps 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 Bodily Image
On social media, followers can see clips from his projects and photos that highlight a athletic form. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball describes his younger self as "desperate for success." Did it met his expectations? "I feel very aware of how life is a different thing to the dreams you had as a young person," he reflects. He probably has another ten years of dancing left. "I suppose in the future, I want to be a bit more kind with myself."
