In the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his arms defined beneath a simple tee. On stage, dancers can appear like powerful deities, yet often offstage they are small. Not so Ball, whose height is one reason for his popularity for heroic characters and partnering. With delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered little teasing for his early passion in ballet. Entering the Royal Ballet School at 11, he graduated directly into the company and was promoted each year, attaining the highest position of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the psychological angst found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is in a talk, in an "In Conversation" series designed to offer intimate insights into a performer's craft. He will guide the audience through a part, showing his cognitive workflow while performance. Even in more comedic ballets, the test is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Mental Game and Post-Performance Emotions
What about after a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get lost in the role, quite often I do feel embarrassed later. Following Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Drivers and Artistic Influences
Ball's determination originated in early experiences. Not excelling in competitions at school made him "vengeful!" It was fuel to prove he could achieve. Reading 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 creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules 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 substance, drawing ideas from literature, music, and painting.
Close-Up Dance and Personal Partnership
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 close to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They are not usually matched on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his projects and photos that showcase a sculpted form. Does he mind that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be seen on various levels.
Ball describes his younger self as "eager for success." Did it lived up to his hopes? "I feel very aware of how reality is a different reality to the aspirations you had as a young person," he muses. He probably has about decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
