Within the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is naturally upright, his arms muscular beneath a plain tee. During performances, ballet dancers can appear like mighty deities, yet often offstage they are small. Not so Ball, whose tall stature is one reason for his popularity for princely roles and partnering. With fine features and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Joining the Royal Ballet School at 11, he graduated straight into the company and was promoted annually, attaining the top rank of lead dancer in 2018. He has loved tackling substantial dramatic roles, 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 upcoming featured appearance is as himself, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will walk the audience through a role, demonstrating his mental workflow while performance. Even in more comedic ballets, the test is profound. "Don Quixote is one of the most demanding technically," he notes.
The Mental Game and Post-Performance Feelings
What about following a show, when he has succeeded? "It's pretty good," he says. "But because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel self-conscious afterwards. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Creative Inspirations
Ball's tenacity originated in early experiences. Not doing well in contests at school made him "vengeful!" This became fuel 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 obsessive," he recalls.
An upcoming endeavor is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is interesting, but just pretending 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 substance, drawing ideas from literature, compositions, and painting.
Close-Up Performance and Personal Partnership
He additionally is interested in staging dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so near 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 degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They aren’t typically paired on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Bodily Image
On social media, followers can see videos from his dance films and photos that showcase a athletic physique. Does he mind that the engagement can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to seeing Michelangelo’s David—something that can be interpreted on various ways.
Ball characterizes his younger self as "desperate for success." Has it met his expectations? "I feel very aware of how reality is a separate thing to the dreams you made as a child," he reflects. He probably has about ten years of performing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
