In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is naturally upright, his limbs muscular beneath a plain white T-shirt. During performances, ballet dancers can seem as mighty deities, yet frequently in person they are petite. This is not true for Ball, whose tall stature is one reason for his demand for princely characters and partnering. Possessing delicate features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was advanced each year, reaching the top rank of principal in 2018. He has relished tackling substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is in a talk, in an "In Conversation" event designed to offer intimate insights into a dancer's craft. He will walk the audience through a part, showing his mental process during execution. Yet in more comedic ballets, the test is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Game and After the Show Feelings
What about following a performance, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, frequently I do feel self-conscious later. After Mayerling I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Drivers and Creative Influences
His determination originated in youthful setbacks. Not excelling in contests at school made him "driven!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Breaking the rules is interesting, but just acting that they’re not a reality 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 art.
Close-Up Dance and Private Dynamic
He also is interested in staging dance in smaller spaces. "It was just really exciting," he says of a past show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his projects and images that showcase a athletic physique. Does he mind that the engagement can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his younger self as "eager for success." Did it lived up to his expectations? "I feel very aware of how life is a different reality to the aspirations you had as a child," he reflects. He probably has about decade of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."
