In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally upright, his arms muscular beneath a simple white T-shirt. During performances, dancers can appear as mighty gods, yet frequently offstage they are small. This is not true for Ball, whose height is one reason for his demand for princely roles and partnering. Possessing delicate traits 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 encountered little teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was advanced annually, reaching the highest position of lead dancer in 2018. He has relished taking on substantial dramatic roles, especially the psychological angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring appearance is in a talk, in an "In Conversation" event aiming to offer intimate insights into a dancer's craft. He will walk the crowd through a part, showing his mental workflow during execution. Even in more comedic ballets, the test is profound. "Don Quixote is one of the most demanding technically," he states.
The Psychological Game and After the Show Feelings
How does he feel following a show, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get lost in the role, frequently I do feel embarrassed later. Following Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer previously observed on a "sense of suffering in him." Is there? "I'm quite active in general, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."
Formative Drivers and Artistic Influences
Ball's determination stemmed from youthful experiences. Not doing well in contests at school made him "vengeful!" This became motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is creating his own choreography. In his view, "there's nothing wrong with." "Challenging the rules is compelling, 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 loaded with meaning, drawing inspiration from literature, compositions, and painting.
Close-Up Dance and Private Partnership
He also is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a previous experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They aren’t typically paired on stage at their main theater, which is perhaps beneficial. "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 supporter."
Regarding Instagram and Physical Perception
On social media, fans can see videos from his dance films and photos that showcase a sculpted form. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his younger self as "desperate for success." Did it met his expectations? "I feel very aware of how reality is a different reality to the aspirations you had as a young person," he reflects. He probably has another ten years of dancing left. "I guess in the time to come, I want to be a bit more gentle with myself."
