In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a plain white T-shirt. During performances, ballet dancers can seem as powerful gods, yet frequently offstage they are small. Not so Ball, whose height is one reason for his popularity for princely characters and partnering. Possessing fine features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Top
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he faced little teasing for his early interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the company and was advanced each year, attaining the top rank of lead dancer in 2018. He has relished tackling substantial dramatic roles, especially the psychological angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next featured role is in a talk, in an "In Conversation" event designed to offer intimate perspectives into a performer's craft. He will walk the crowd through a part, demonstrating his cognitive workflow during execution. Yet in lighter ballets, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Game and Post-Performance Emotions
How does he feel following a performance, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Does this exist? "I'm quite active in general, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Drivers and Artistic Influences
Ball's determination originated in early setbacks. Not doing well in contests at school made him "driven!" It was motivation to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming challenge is creating his own choreography. In his view, "organic movement has value." "Challenging the conventions is compelling, but just acting 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 substance, drawing ideas from literature, compositions, and art.
Intimate Performance and Personal Dynamic
He additionally favors presenting dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their home company, which is perhaps beneficial. "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 Image
On social media, followers can see clips from his dance films and photos that showcase a sculpted form. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball characterizes his younger self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how reality is a separate thing to the dreams you made as a child," he muses. He likely has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
