In the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his arms defined beneath a simple white T-shirt. On stage, ballet dancers can appear like mighty deities, yet often offstage they are small. This is not true for Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. Possessing fine traits and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he faced little ridicule for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the troupe and was promoted annually, attaining the top rank of lead dancer in 2018. He has relished taking on substantial characters, particularly the psychological angst 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 as himself, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a dancer's craft. He will walk the crowd through a role, showing his mental process while execution. Even in lighter ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he states.
The Mental Game and After the Show Emotions
What about after a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get lost in the role, frequently I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Is there? "I am very active in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Drivers and Artistic Inspirations
His tenacity stemmed from early setbacks. Not excelling in contests at school made him "vengeful!" This became fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming endeavor is making his own choreography. In his view, "organic movement has value." "Breaking 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 wants his work to be loaded with meaning, drawing inspiration from books, compositions, and art.
Close-Up Performance and Personal Partnership
He also is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a previous show. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Perception
On social media, followers can see videos from his dance films and images that showcase a sculpted 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 protective about it," he states. He compares it to viewing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his younger self as "eager for success." Did it lived up to his hopes? "I am conscious of how reality is a separate thing to the aspirations you had as a young person," he reflects. He probably has another ten years of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."
