Within the quiet atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his arms defined beneath a plain white T-shirt. During performances, ballet dancers can appear like powerful gods, yet often in person they are small. Not so Ball, whose tall stature is one reason for his popularity for princely characters and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Raised in Liverpool, he faced minimal ridicule for his early passion in ballet. Entering the Royal Ballet School at 11, he moved directly into the troupe and was advanced annually, reaching the highest position of lead dancer in 2018. He has loved tackling meaty dramatic roles, especially the emotional turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring role is in a talk, in an "In Conversation" event designed to offer intimate perspectives into a dancer's art. He will guide the crowd through a part, demonstrating his mental process while execution. Even in lighter ballets, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Struggle and Post-Performance Emotions
What about after a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get lost in the role, quite often I do feel embarrassed later. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a dark side," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Formative Drivers and Creative Inspirations
His tenacity stemmed from early setbacks. Not doing well in competitions at school made him "vengeful!" It was fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
The next challenge is making his own choreography. In his view, "organic movement has value." "Breaking the conventions 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 ideas from literature, compositions, and art.
Close-Up Performance and Private Partnership
He also is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They are not typically paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Image
On Instagram, fans can see clips from his projects and images that showcase a sculpted form. Does he care 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 viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a different thing to the aspirations you made as a child," he muses. He likely has another ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
