In the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his arms defined beneath a plain white T-shirt. During performances, dancers can seem as mighty gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is part of his popularity for heroic roles and pas de deux work. With delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has progressed smoothly. Raised in Liverpool, he faced little ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was advanced annually, reaching the top rank of lead dancer in 2018. He has loved taking on meaty dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured appearance is as himself, in an "In Conversation" event aiming to offer intimate insights into a performer's art. He will walk the crowd through a role, demonstrating his mental workflow during performance. Yet in lighter works, the challenge is significant. "A classic ballet is one of the toughest technically," he notes.
The Psychological Game and After the Show Feelings
How does he feel following a show, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get lost in the role, quite often I do feel self-conscious later. After Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Formative Drivers and Creative Influences
His tenacity originated in youthful setbacks. Not doing well in contests at school made him "driven!" This became motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next endeavor is making his own dance works. For Ball, "there's nothing wrong with." "Breaking the conventions is compelling, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be filled with substance, drawing inspiration from books, music, and painting.
Intimate Performance and Private Dynamic
He additionally is interested in 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 thinking: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not usually paired on stage at their main theater, which might be 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 Image
On social media, followers can see clips from his dance films and images that highlight a athletic form. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his younger self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how life is a separate thing to the dreams you had as a young person," he reflects. He likely has another ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
