Within the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is effortlessly straight-backed, his limbs muscular beneath a plain white T-shirt. During performances, dancers can seem like mighty deities, yet frequently in person they are petite. This is not true for Ball, whose height is one reason for his demand for heroic characters and partnering. Possessing fine features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has advanced smoothly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Joining the Royal Ballet School at 11, he graduated directly into the company and was advanced each year, attaining the top rank of lead dancer in 2018. He has loved taking on substantial characters, particularly the psychological angst found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring role is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes insights into a performer's art. He will guide the audience through a part, demonstrating his cognitive workflow during performance. Even in lighter works, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.
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 squeeze all the juice out of it, and get immersed in the role, frequently I do feel embarrassed later. Following Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Motivations and Creative Influences
Ball's tenacity stemmed from early experiences. Not excelling in contests at school made him "driven!" This became motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next challenge is creating his own dance works. For Ball, "organic movement has value." "Breaking the conventions is compelling, but just pretending that they’re not a thing 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 literature, music, and art.
Close-Up Dance and Private Dynamic
He additionally is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a previous show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal 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." They are not typically matched on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Image
On social media, followers can see clips from his projects and images that showcase a athletic 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 protective about it," he explains. He compares it to seeing Michelangelo’s David—something that can be seen on various ways.
Ball describes his early self as "desperate for success." Has it lived up to his expectations? "I am conscious of how reality is a separate thing to the dreams you had as a young person," he muses. He probably has about ten years of performing left. "I guess in the future, I want to be a bit more gentle with myself."
