Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his limbs defined beneath a plain white T-shirt. On stage, dancers can seem like powerful gods, yet frequently in person they are small. This is not true for Ball, whose height is one reason for his popularity for heroic characters and partnering. With fine features and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted annually, reaching the top rank of principal in 2018. He has loved tackling meaty dramatic roles, especially the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next starring role is in a talk, in an "Evening With" series designed to offer intimate perspectives into a performer's craft. He will walk the audience through a part, showing his mental process during execution. Yet in lighter ballets, the test is significant. "Don Quixote is one of the toughest technically," he notes.
The Mental Game and Post-Performance Emotions
What about following a performance, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, quite often I do feel embarrassed afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Early Drivers and Creative Influences
Ball's tenacity originated in early setbacks. Not excelling in competitions at school made him "vengeful!" It was fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
An upcoming challenge is creating his own dance works. In his view, "organic movement has value." "Breaking the conventions is compelling, 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 filled with substance, drawing ideas from books, compositions, and painting.
Close-Up Performance and Personal Dynamic
He additionally is interested in presenting dance in more intimate venues. "It was just really exciting," 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 perspiring.'"
Ball has made 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 audacious lift. "It was like Dirty Dancing." The couple are not typically 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 notes. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Image
On social media, followers can see videos from his projects and photos that showcase a athletic form. 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 seeing Michelangelo’s David—something that can be interpreted on multiple ways.
Ball describes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a different reality to the aspirations you made as a young person," he reflects. He probably has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
