In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his limbs defined beneath a simple white T-shirt. During performances, dancers can appear as powerful deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is part of his popularity for princely characters and partnering. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Raised in Liverpool, he faced minimal ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he graduated straight into the company and was advanced annually, reaching the highest position of lead dancer in 2018. He has loved taking on meaty dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's craft. He will walk the crowd through a role, demonstrating his mental process while performance. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Struggle and Post-Performance Emotions
How does he feel following a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the character, frequently I do feel embarrassed afterwards. After Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Drivers and Creative Inspirations
Ball's tenacity originated in youthful experiences. Not doing well in competitions at school made him "driven!" It was fuel to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming challenge is creating his own dance works. In his view, "there's nothing wrong with." "Challenging the rules is compelling, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be filled with meaning, drawing inspiration from books, music, and painting.
Close-Up Performance and Personal Dynamic
He additionally favors presenting dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple 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. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, followers can see videos from his projects and images that showcase a athletic physique. Does he care that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—something that can be seen on multiple levels.
Ball characterizes his younger self as "desperate for success." Has it lived up to his hopes? "I am conscious of how reality is a different reality to the aspirations you had as a child," he reflects. He probably has about ten years of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
