In the quiet atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his arms defined beneath a plain tee. On stage, dancers can seem as powerful gods, yet often in person they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. Possessing delicate features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered little teasing for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated straight into the company and was promoted annually, attaining the highest position of lead dancer in 2018. He has loved tackling substantial dramatic roles, especially the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured role is in a talk, in an "Evening With" event designed to offer intimate insights into a performer's art. He will walk the crowd through a part, demonstrating his cognitive workflow during performance. Even in more comedic works, the challenge is profound. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel after a show, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, frequently I do feel embarrassed afterwards. Following Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Is there? "I am very active 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 catalyst for good change."
Formative Motivations and Artistic Influences
Ball's determination stemmed from early setbacks. Not excelling in contests at school made him "vengeful!" It was motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging 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 meaning, drawing inspiration from books, compositions, and art.
Close-Up Performance and Personal Dynamic
He also is interested in presenting dance in more intimate 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 realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t usually paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Bodily Image
On Instagram, fans can see clips from his dance films and photos that showcase a sculpted physique. Does he mind that the response can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—something that can be seen on multiple ways.
Ball describes his early self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how life is a different reality to the dreams you made as a child," he muses. He probably has another decade of performing ahead. "I guess in the time to come, I want to be a bit more kind with myself."
