Within the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his limbs defined beneath a plain tee. On stage, ballet dancers can appear like powerful gods, yet often in person they are petite. This is not true for Ball, whose height is one reason for his demand for princely characters and pas de deux work. With fine features and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced little ridicule for his childhood passion in ballet. Joining the Royal Ballet School at 11, he graduated straight into the company and was promoted annually, reaching the highest position of lead dancer in 2018. He has relished taking on substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next starring role is as himself, in an "In Conversation" series aiming to offer intimate perspectives into a dancer's art. He will guide the audience through a role, demonstrating his mental workflow while execution. Yet 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 Feelings
What about after a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the character, quite often I do feel self-conscious later. Following Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, polite, and prone to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Does this exist? "I'm quite active in general, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Artistic Influences
Ball's tenacity originated in early setbacks. Not excelling in competitions at school made him "driven!" This became motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next challenge is making his own choreography. For Ball, "there's nothing wrong with." "Challenging 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 aims his work to be filled with substance, drawing ideas from books, music, and art.
Close-Up Dance and Private Dynamic
He additionally is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Perception
On social media, followers can see videos from his dance films and images that showcase a athletic form. Does he mind that the engagement can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—something that can be interpreted on various ways.
Ball describes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how reality is a different reality to the aspirations you had as a child," he reflects. He likely has another decade of performing left. "I guess in the future, I want to be a bit more gentle with myself."
