Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His carriage is naturally straight-backed, his arms muscular beneath a simple tee. On stage, ballet dancers can seem as powerful deities, yet often offstage they are petite. Not so Ball, whose height is one reason for his demand for heroic characters and partnering. With delicate traits and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Top
At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was advanced each year, attaining the highest position of principal in 2018. He has relished taking on meaty dramatic roles, particularly the psychological turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is in a talk, in an "Evening With" series aiming to offer intimate insights into a performer's craft. He will guide the audience through a part, demonstrating his cognitive process during performance. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Struggle and After the Show Emotions
How does he feel after a performance, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel self-conscious afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer previously observed on a "sense of suffering in him." Does this exist? "I am very active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Artistic Inspirations
Ball's determination stemmed from early setbacks. Not doing well in competitions at school made him "driven!" This became fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
An upcoming endeavor is creating his own choreography. For Ball, "organic movement has value." "Breaking the rules is interesting, but just acting that they’re not a reality 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 art.
Close-Up Dance and Personal Dynamic
He also is interested in staging dance in smaller venues. "It was just really exciting," he says of a past experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not usually paired on stage at their main theater, which is perhaps healthy. "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 biggest supporter."
On Social Media and Physical Perception
On social media, fans can see clips from his dance films and images that highlight a sculpted form. Does he mind that the response can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
Ball characterizes his younger self as "eager for success." Has it lived up to his expectations? "I am conscious of how life is a separate thing to the aspirations you made as a young person," he muses. He probably has about decade of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
