In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his arms defined beneath a plain white T-shirt. During performances, dancers can appear as powerful deities, yet often offstage they are petite. Not so Ball, whose height is part of his demand for heroic roles and partnering. Possessing fine features and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted annually, reaching the top rank of lead dancer in 2018. He has relished tackling meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring role is as himself, in an "Evening With" event designed to offer behind-the-scenes insights into a dancer's art. He will walk the crowd through a part, showing his cognitive workflow during performance. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Game and Post-Performance Feelings
What about following a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. Following an intense role I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I'm quite active usually, 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 positive change."
Formative Drivers and Artistic Influences
Ball's determination originated in youthful experiences. Not doing well in competitions at school made him "driven!" It was motivation to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next challenge is making his own dance works. In his view, "organic movement has value." "Breaking the conventions is compelling, but just acting 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 ideas from literature, music, and art.
Close-Up Performance and Private Partnership
He additionally favors staging dance in smaller venues. "It was just really thrilling," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: '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 clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Image
On Instagram, followers can see videos from his projects and images that highlight a sculpted form. Does he care that the response can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple ways.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how reality is a separate thing to the aspirations you had as a child," he muses. He probably has about ten years of dancing left. "I guess in the future, I want to be a bit more gentle with myself."
