Within the hushed ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his arms defined beneath a plain white T-shirt. During performances, dancers can seem like mighty gods, yet often in person they are small. Not so Ball, whose tall stature is part of his popularity for princely roles and partnering. With delicate features and intense eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Pinnacle
At 31, Ball is experiencing the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced minimal ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the company and was advanced each year, attaining the highest position of lead dancer in 2018. He has relished taking on substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is in a talk, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a performer's art. He will walk the crowd through a part, demonstrating his cognitive process during performance. Yet in lighter ballets, the test is significant. "A classic ballet is one of the most demanding technically," he states.
The Psychological Struggle and Post-Performance Feelings
What about following a performance, 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 lost in the character, quite often I do feel self-conscious afterwards. After an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer previously remarked on a "kind of suffering in him." Is there? "I am very 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 Motivations and Creative Inspirations
Ball's determination stemmed from early experiences. Not doing well in competitions at school made him "driven!" This became motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming challenge is making his own dance works. In his view, "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 wants his work to be filled with substance, drawing inspiration from books, compositions, and art.
Intimate Dance and Private Partnership
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 sweating.'"
Ball has made duets with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not usually matched on stage at their home company, which is perhaps beneficial. "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."
Regarding Instagram and Bodily Image
On social media, fans can see clips from his projects 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 relates it to viewing Michelangelo’s David—an object that can be seen on various ways.
Ball describes his younger self as "desperate for success." Did it met his hopes? "I am conscious of how reality is a separate reality to the aspirations you had as a young person," he reflects. He probably has another ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
