In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is effortlessly upright, his arms defined beneath a plain tee. On stage, ballet dancers can appear as powerful gods, yet often offstage they are small. This is not true for Ball, whose tall stature is one reason for his popularity for princely characters and partnering. Possessing delicate traits and piercing 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 smoothly. Raised in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was advanced each year, reaching the highest position of lead dancer in 2018. He has relished tackling substantial characters, particularly the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, 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 behind-the-scenes insights into a dancer's art. He will walk the crowd through a part, demonstrating his mental workflow while execution. Yet in lighter works, the challenge is profound. "A classic ballet is one of the toughest technically," he states.
The Psychological Game and After the Show Feelings
How does he feel following a performance, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get lost in the role, quite often I do feel self-conscious later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer previously observed on a "kind of suffering in him." Is there? "I am very active in general, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Drivers and Creative Inspirations
Ball's tenacity stemmed from early experiences. Not doing well in contests at school made him "driven!" It was fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming 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 filled with meaning, drawing inspiration from books, music, and painting.
Intimate Performance and Personal Dynamic
He also favors presenting dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his partner, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They aren’t typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed 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 Instagram, fans can see clips from his dance films and photos that highlight a athletic physique. Does he mind that the engagement can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball characterizes his early self as "eager for success." Did it lived up to his hopes? "I am conscious of how reality is a separate reality to the aspirations you had as a child," he muses. He likely has another decade of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
