In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his arms muscular beneath a simple tee. On stage, dancers can seem like powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is part of his demand for princely roles and partnering. Possessing delicate features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered little teasing for his early passion in ballet. Entering the Royal Ballet School at 11, he moved straight into the troupe and was promoted annually, reaching the highest position of lead dancer in 2018. He has relished taking on meaty dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring appearance is in a talk, in an "In Conversation" series designed to offer intimate insights into a performer's craft. He will walk the crowd through a part, showing his mental process while execution. Yet in lighter ballets, the test is significant. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Mental Game and After the Show Feelings
What about after a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel self-conscious later. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Early Motivations and Creative Inspirations
His tenacity stemmed from youthful experiences. Not excelling in contests at school made him "driven!" This became fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next challenge is making his own dance works. In his view, "organic movement has value." "Challenging 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, compositions, and painting.
Close-Up Performance and Personal Partnership
He additionally is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a past experience. "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 partner, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Image
On Instagram, fans can see clips from his dance films and photos that highlight a sculpted form. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—something that can be seen on multiple ways.
Ball describes his younger self as "desperate 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 about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
