Within the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is effortlessly upright, his arms defined beneath a simple tee. During performances, ballet dancers can seem as powerful gods, yet often offstage they are petite. This is not true for Ball, whose height is one reason for his popularity for heroic characters and pas de deux work. With fine traits and intense eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Raised in Liverpool, he encountered minimal teasing for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was promoted annually, attaining the top rank of lead dancer in 2018. He has loved taking on meaty dramatic roles, particularly the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is in a talk, in an "Evening With" series designed to offer behind-the-scenes perspectives into a dancer's art. He will guide the audience through a part, showing his cognitive workflow while execution. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Game and After the Show Emotions
What about after a show, when he has succeeded? "It's pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed afterwards. Following an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer once observed on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Drivers and Artistic Influences
His determination stemmed from youthful experiences. Not doing well in contests at school made him "vengeful!" This became fuel 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 fanatical," he recalls.
The next endeavor is making his own choreography. In his view, "there's nothing wrong with." "Challenging 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 inspiration from literature, compositions, and art.
Intimate Performance and Private Partnership
He additionally favors presenting dance in smaller spaces. "It was just really exciting," he says of a previous experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Physical Perception
On social media, fans can see clips from his dance films and photos that highlight a athletic physique. Does he mind that the response can be a bit objectifying? 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—an object that can be seen on multiple ways.
Ball characterizes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how reality is a separate reality to the dreams you had as a child," he muses. He probably has about decade of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
