In the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his arms muscular beneath a plain tee. During performances, ballet dancers can appear like powerful gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is one reason for his demand for princely characters and partnering. With fine traits and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Raised in Liverpool, he encountered little teasing for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was promoted annually, attaining the top rank of lead dancer in 2018. He has loved tackling substantial characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured role is as himself, in an "In Conversation" series designed to offer intimate perspectives into a performer's art. He will walk the crowd through a role, showing his cognitive process during execution. Even in lighter works, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Psychological Struggle and Post-Performance Emotions
What about after a show, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel self-conscious afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. But a choreographer once observed on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."
Early Motivations and Artistic Influences
Ball's tenacity originated in early setbacks. Not excelling in contests at school made him "driven!" It was motivation to prove 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.
The next endeavor is making his own dance works. In his view, "organic movement has value." "Challenging the conventions 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 substance, drawing ideas from books, compositions, and art.
Close-Up Performance and Private Partnership
He also is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not typically matched on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Perception
On Instagram, fans can see videos from his dance films and images that highlight a athletic physique. Does he mind that the response can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—something that can be seen on multiple levels.
Ball characterizes his younger self as "desperate for success." Has it met his expectations? "I am conscious of how reality is a different thing to the aspirations you had as a child," he reflects. He probably has about decade of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
