In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is naturally upright, his arms defined beneath a plain white T-shirt. During performances, dancers can seem as mighty gods, yet often in person they are small. This is not true for Ball, whose tall stature is one reason for his demand for princely characters and partnering. With delicate features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered little teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he graduated straight into the troupe and was advanced annually, reaching the top rank of lead dancer in 2018. He has loved tackling substantial dramatic roles, particularly the emotional angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is in a talk, in an "Evening With" series designed to offer behind-the-scenes perspectives into a dancer's art. He will guide the audience through a part, demonstrating his mental process while performance. Even in more comedic works, the challenge is profound. "Don Quixote is one of the most demanding technically," he states.
The Mental Game and Post-Performance Feelings
How does he feel following a performance, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel self-conscious later. Following an intense role I'm always like: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Does this exist? "I am very active usually, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Early Drivers and Creative Influences
His tenacity stemmed from youthful setbacks. Not excelling in contests at school made him "driven!" It was fuel 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 recalls.
The next challenge is creating his own choreography. For Ball, "organic movement has value." "Breaking the conventions is interesting, but just pretending 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 filled with substance, drawing ideas from books, music, and painting.
Intimate Performance and Private Partnership
He additionally is interested in staging dance in smaller venues. "It was just really thrilling," he says of a previous experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They aren’t typically paired on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Perception
On social media, followers can see videos from his dance films and images that highlight a sculpted physique. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his early self as "eager for success." Has it met his expectations? "I feel very aware of how life is a different reality to the aspirations you had as a young person," he muses. He likely has another ten years of dancing left. "I suppose in the future, I want to be a bit more gentle with myself."
