In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs muscular beneath a simple tee. On stage, dancers can appear as mighty deities, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is one reason for his popularity for princely characters and partnering. Possessing delicate features and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Top
Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered little ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has loved tackling meaty characters, especially the emotional angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next starring appearance is in a talk, in an "In Conversation" series aiming to offer intimate perspectives into a dancer's craft. He will guide the audience through a role, showing his mental workflow while execution. Even in more comedic ballets, the challenge is profound. "A classic ballet is one of the toughest technically," he states.
The Mental Struggle and After the Show Feelings
What about following a show, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get lost in the character, quite often I do feel embarrassed later. Following Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Motivations and Creative Influences
His tenacity originated in youthful setbacks. 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 flipped a switch, it made me go a bit obsessive," he recalls.
The next challenge is making his own choreography. In his view, "organic movement has value." "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 loaded with meaning, drawing inspiration from books, compositions, and art.
Close-Up Performance and Private Partnership
He additionally is interested in staging dance in smaller spaces. "It was just really exciting," he says of a past experience. "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 level of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually paired on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Perception
On social media, followers can see clips from his projects 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 interpreted on multiple ways.
Ball characterizes his younger self as "eager for success." Has it met his hopes? "I feel very aware of how reality is a separate reality to the aspirations you had as a child," he reflects. He probably has about ten years of performing ahead. "I guess in the time to come, I want to be a bit more kind with myself."
