In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his limbs defined beneath a simple white T-shirt. On stage, ballet dancers can seem like mighty deities, yet frequently in person they are petite. This is not true for Ball, whose tall stature is part of his popularity for princely characters and partnering. Possessing delicate features and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Top
At 31, Ball is enjoying the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced little teasing for his early passion in ballet. Joining the Royal Ballet School at 11, he moved straight into the troupe and was advanced each year, reaching the top rank of lead dancer in 2018. He has relished tackling meaty dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is as himself, in an "In Conversation" event aiming to offer intimate perspectives into a performer's craft. He will walk the audience through a role, showing his cognitive process during execution. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Mental Game and After the Show Feelings
How does he feel following a performance, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel self-conscious later. Following an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, polite, and prone to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Is there? "I am very energetic 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."
Early Drivers and Artistic Inspirations
Ball's tenacity stemmed from early setbacks. Not doing well in contests at school made him "vengeful!" It was motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming endeavor is creating his own dance works. In his view, "organic movement has value." "Breaking the conventions is interesting, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be filled with substance, drawing inspiration from literature, music, and painting.
Intimate Performance and Personal Dynamic
He also is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They are not usually 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 notes. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Physical Image
On social media, followers can see videos from his dance films and photos that showcase a athletic form. Does he mind that the engagement can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to seeing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his younger self as "desperate for success." Has it lived up to his hopes? "I am conscious of how life is a separate reality to the dreams you made as a child," he muses. He probably has about ten years of performing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
