Within the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can appear like powerful gods, yet frequently in person they are petite. This is not true for Ball, whose height is one reason for his popularity for heroic roles and partnering. Possessing fine features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he faced little ridicule for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the company and was promoted each year, attaining the highest position of lead dancer in 2018. He has loved tackling substantial dramatic roles, particularly 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."
Ball's next featured appearance is as himself, in an "In Conversation" series aiming to offer intimate insights into a dancer's craft. He will guide the crowd through a part, demonstrating his cognitive process during execution. Yet in lighter works, the test is profound. "Don Quixote is one of the most demanding technically," he notes.
The Mental Game and Post-Performance Feelings
What about following a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel embarrassed later. Following Mayerling I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Is there? "I am very active in general, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Creative Inspirations
Ball's determination stemmed from early experiences. Not doing well in contests at school made him "driven!" This became fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Breaking 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 filled with meaning, drawing ideas from books, compositions, and painting.
Intimate Dance and Private Dynamic
He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t usually matched 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 admits. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Perception
On Instagram, followers can see videos from his dance films and images that showcase a sculpted physique. Does he mind that the response can be somewhat objectifying? Not particularly. "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—something that can be interpreted on various ways.
Ball describes his early self as "desperate for success." Has it lived up to his expectations? "I am conscious of how life is a different thing to the aspirations you had as a young person," he reflects. He probably has about decade of performing left. "I guess in the future, I want to be a bit more gentle with myself."
