In the quiet ambiance of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is effortlessly straight-backed, his arms defined beneath a simple tee. On stage, ballet dancers can appear as powerful deities, yet frequently in person they are small. This is not true for Ball, whose tall stature is part of his popularity for princely characters and partnering. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Top
Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Raised in Liverpool, he encountered minimal 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 top rank of lead dancer in 2018. He has loved tackling meaty characters, particularly the psychological turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured appearance is in a talk, in an "Evening With" event designed to offer intimate perspectives into a dancer's craft. He will guide the crowd through a part, showing his cognitive process during performance. Yet in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Struggle and Post-Performance Feelings
How does he feel after a show, when he has succeeded? "It's pretty good," he says. "But because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel embarrassed later. Following an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer once remarked 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 somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Artistic Inspirations
His determination originated in youthful experiences. Not excelling in competitions at school made him "vengeful!" 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 recalls.
An upcoming endeavor is making his own dance works. In his view, "there's nothing wrong with." "Challenging the rules is compelling, 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 meaning, drawing ideas from literature, music, and painting.
Close-Up Performance and Private Dynamic
He additionally is interested in presenting dance in smaller venues. "It was just really exciting," he says of a past show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not typically paired on stage at their main theater, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On social media, followers can see videos from his projects and photos that showcase a athletic physique. Does he care that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be seen on various ways.
Ball describes his younger self as "desperate for success." Did it lived up to his expectations? "I am conscious of how reality is a separate reality to the dreams you had as a young person," he muses. He likely has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
