Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a simple tee. During performances, ballet dancers can seem as powerful deities, yet frequently in person they are petite. This is not true for Ball, whose height is one reason for his popularity for heroic characters and pas de deux work. With fine traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was promoted annually, reaching the top rank of lead dancer in 2018. He has relished tackling substantial characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is in a talk, in an "Evening With" event aiming to offer behind-the-scenes perspectives into a performer's craft. He will guide the crowd through a part, demonstrating his cognitive workflow while performance. Yet in lighter works, the test is significant. "A classic ballet 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 feels pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get lost in the character, quite often I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Drivers and Artistic Influences
Ball's tenacity originated in early setbacks. Not doing well in contests at school made him "vengeful!" It was 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 remembers.
An upcoming endeavor is making his own dance works. In his view, "there's nothing wrong with." "Challenging the rules 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 Performance and Private Dynamic
He also favors staging dance in more intimate venues. "It was just really thrilling," he says of a previous show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not 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 supporter."
Regarding Instagram and Physical Perception
On social media, followers can see videos from his projects and photos that highlight a sculpted physique. Does he care that the response can be somewhat focused on appearance? Not really. "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—an object that can be interpreted on various levels.
Ball characterizes his younger self as "desperate for success." Has it met his expectations? "I feel very aware of how reality is a different reality to the dreams you had as a child," he reflects. He likely has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
