In the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his arms muscular beneath a simple tee. On stage, dancers can seem as powerful gods, yet frequently in person they are small. Not so Ball, whose tall stature is part of his popularity for princely characters and pas de deux work. Possessing fine features and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered little teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated straight into the company and was promoted each year, reaching the top rank of lead dancer in 2018. He has relished taking on meaty characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next starring role is in a talk, in an "Evening With" series designed to offer intimate perspectives into a dancer's art. He will guide the crowd through a role, showing his mental process during performance. Even in more comedic ballets, the challenge is significant. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Game and Post-Performance Emotions
What about following a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, frequently I do feel self-conscious later. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer once observed 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 negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Motivations and Artistic Influences
Ball's determination stemmed from early setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next endeavor is creating his own dance works. For Ball, "organic movement has value." "Challenging the rules is interesting, but just pretending 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 meaning, drawing ideas from literature, compositions, and art.
Intimate Performance and Private Dynamic
He additionally is interested in staging dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his girlfriend, fellow principal 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." The couple are not typically matched on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Perception
On Instagram, fans can see clips from his projects and photos that highlight a sculpted form. Does he mind that the engagement can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how life is a different reality to the aspirations you had as a young person," he reflects. He probably has another ten years of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."
