In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his limbs defined beneath a plain white T-shirt. On stage, dancers can seem as mighty gods, yet frequently in person they are small. Not so Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. Possessing delicate features and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Top
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered little ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the company and was promoted each year, reaching the highest position of lead dancer in 2018. He has relished taking on substantial dramatic roles, particularly the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring role is as himself, in an "Evening With" event designed to offer intimate insights into a performer's art. He will walk the audience through a part, showing his cognitive process while performance. Yet in more comedic works, the test is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel after a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the character, quite often I do feel self-conscious afterwards. Following Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Is there? "I'm quite active usually, 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."
Early Motivations and Creative Influences
Ball's tenacity originated in youthful experiences. Not excelling in competitions at school made him "driven!" It was motivation to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the rules is compelling, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be filled with substance, drawing ideas from literature, music, and painting.
Close-Up Dance and Personal Dynamic
He additionally is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a previous experience. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not typically paired on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest cheerleader."
On Social Media and Bodily Image
On Instagram, fans can see clips from his dance films and images that showcase a sculpted physique. Does he mind that the engagement can be a bit 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 ways.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how life is a separate reality to the dreams you made as a child," he reflects. He probably has about ten years of performing left. "I suppose in the future, I want to be a bit more gentle with myself."
