Within the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is naturally upright, his arms defined beneath a plain white T-shirt. During performances, ballet dancers can seem as mighty deities, yet often in person they are small. Not so Ball, whose height is one reason for his popularity for princely roles and pas de deux work. Possessing delicate traits and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is enjoying the peak of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal ridicule for his early passion in ballet. Joining the Royal Ballet School at 11, he moved straight into the troupe and was advanced each year, attaining the top rank of lead dancer in 2018. He has loved tackling substantial characters, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next featured appearance is as himself, in an "In Conversation" event aiming to offer intimate insights into a dancer's craft. He will guide the audience through a part, demonstrating his cognitive workflow while execution. Yet in lighter works, the test is significant. "A classic ballet is one of the toughest technically," he notes.
The Psychological Game and Post-Performance Emotions
What about following a performance, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get lost 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, polite, and quick to laugh at himself. But a dance maker previously remarked on a "kind of suffering in him." Is there? "I'm quite energetic usually, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Motivations and Creative Influences
Ball's determination originated in early experiences. Not doing well in competitions at school made him "vengeful!" It was fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging the conventions 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 meaning, drawing inspiration from books, music, and art.
Intimate Performance and Private Dynamic
He additionally is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Image
On Instagram, followers can see clips from his projects and photos that highlight a sculpted physique. Does he care that the engagement can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on multiple ways.
Ball describes his early self as "eager for success." Has it lived up to his expectations? "I feel very aware of how reality is a separate 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."
