Within the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly straight-backed, his arms muscular beneath a plain white T-shirt. During performances, dancers can seem like powerful gods, yet frequently in person they are small. This is not true for Ball, whose tall stature is one reason for his demand for heroic roles and partnering. Possessing delicate features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the Royal Ballet School at 11, he moved straight into the company and was advanced annually, reaching the highest position of lead dancer in 2018. He has loved tackling meaty characters, particularly the psychological angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured role is in a talk, in an "Evening With" series designed to offer intimate insights into a dancer's craft. He will guide the crowd through a role, demonstrating his mental process while execution. Yet in more comedic ballets, the test is profound. "A classic ballet is one of the toughest technically," he states.
The Mental Game and After the Show Emotions
What about following a performance, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the character, quite often I do feel self-conscious afterwards. After Mayerling I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Is there? "I am very active usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Formative Drivers and Creative Influences
His determination stemmed from youthful setbacks. Not doing well in contests at school made him "driven!" This became motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next challenge is creating his own dance works. In his view, "there's nothing wrong with." "Challenging 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 loaded with substance, drawing inspiration from books, compositions, and art.
Close-Up Dance and Private Partnership
He additionally is interested in staging dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They are not usually 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 Perception
On social media, followers can see clips from his projects and photos that highlight a sculpted physique. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Has it met his hopes? "I feel very aware of how life is a separate reality to the aspirations you made as a young person," he muses. He probably has another decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
