Within the hushed ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. During performances, dancers can appear as powerful gods, yet often in person they are small. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he faced minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he moved straight into the company and was promoted each year, reaching the top rank of principal in 2018. He has relished tackling meaty characters, especially the psychological turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is in a talk, in an "In Conversation" series designed to offer intimate perspectives into a dancer's art. He will guide the crowd through a part, showing his cognitive process during execution. Yet in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding technically," he notes.
The Mental Game and After the Show Feelings
What about following a show, 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 role, quite often I do feel self-conscious later. Following Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. Yet a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Motivations and Creative Inspirations
His tenacity originated in youthful setbacks. Not excelling in competitions at school made him "driven!" It was fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is creating his own dance works. For Ball, "there's nothing wrong with." "Challenging the rules 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 aims his work to be filled with meaning, drawing inspiration from literature, music, and art.
Close-Up Performance and Private Partnership
He also favors presenting dance in more intimate venues. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created pieces 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 audacious lift. "It was like Dirty Dancing." The couple are not typically matched on stage at their home company, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, followers can see videos from his dance films and photos that highlight a athletic form. Does he care that the response can be somewhat focused on appearance? 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 seen on multiple levels.
Ball characterizes his younger self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how life is a different thing to the dreams you made as a child," he muses. He likely has about ten years of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
