In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his limbs defined beneath a simple white T-shirt. During performances, dancers can seem like powerful gods, yet frequently in person they are small. Not so Ball, whose height is one reason for his demand for princely roles and pas de deux work. With delicate traits and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted annually, reaching the highest position of lead dancer in 2018. He has relished taking on meaty characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring role is in a talk, in an "Evening With" event aiming to offer behind-the-scenes perspectives into a dancer's craft. He will guide the crowd through a part, showing his cognitive workflow while performance. Yet in more comedic works, the test is profound. "Don Quixote is one of the toughest technically," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel following a performance, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Does this exist? "I am very active in general, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Early Motivations and Creative Influences
His determination originated in youthful setbacks. Not excelling in competitions at school made him "vengeful!" This became motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next 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 thing any more – I don’t know how far you can go with that." He aims his work to be loaded with meaning, drawing ideas from literature, music, and art.
Close-Up Performance and Personal Dynamic
He additionally is interested in presenting dance in more intimate spaces. "It was just really exciting," he says of a previous show. "You’re so close 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 lead dancer Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Perception
On Instagram, fans can see videos from his projects and photos that showcase a athletic form. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball describes his early self as "eager for success." Did it met his expectations? "I am conscious of how reality is a different reality to the dreams you made as a child," he muses. He likely has another ten years of performing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
