Within the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is effortlessly upright, his arms defined beneath a simple white T-shirt. During performances, dancers can seem as powerful deities, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is one reason for his demand for heroic roles and partnering. With delicate traits and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was promoted each year, attaining the top rank of principal in 2018. He has relished tackling substantial dramatic roles, especially the emotional turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is as himself, in an "Evening With" series aiming to offer intimate perspectives into a dancer's art. He will guide the audience through a part, demonstrating his cognitive 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 states.
The Psychological Game and After the Show Emotions
What about following a show, 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 lost in the role, frequently I do feel self-conscious afterwards. After Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. But a choreographer previously 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 somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Early Drivers and Creative Inspirations
Ball's tenacity stemmed from youthful experiences. Not excelling in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Discovering 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 creating his own choreography. In his view, "organic movement has value." "Breaking 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 aims his work to be loaded with meaning, drawing inspiration from books, compositions, and painting.
Intimate Performance and Private Dynamic
He also favors staging dance in more intimate venues. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Physical Perception
On social media, followers can see clips from his projects and images that highlight a athletic 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 precious about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his early self as "eager for success." Has it lived up to his hopes? "I feel very aware of how life is a different reality to the aspirations you made as a young person," he muses. He probably has about decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
