Within the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is naturally upright, his limbs defined beneath a plain white T-shirt. On stage, ballet dancers can seem like powerful gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is part of his popularity for princely characters and pas de deux work. With fine features and intense eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he faced little teasing for his childhood interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the company and was promoted each year, attaining the highest position of lead dancer in 2018. He has loved tackling substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next featured role is as himself, in an "In Conversation" event aiming to offer intimate perspectives into a dancer's art. He will walk the crowd through a role, demonstrating his mental workflow during performance. Yet in lighter works, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.
The Psychological Struggle and Post-Performance Feelings
What about following a show, when he has pulled it off? "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, frequently I do feel embarrassed later. After Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Is there? "I'm quite energetic in general, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Early Drivers and Artistic Influences
Ball's determination stemmed from youthful setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming endeavor is creating his own dance works. In his view, "there's nothing wrong with." "Breaking the rules is compelling, but just pretending 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 loaded with meaning, drawing ideas from literature, compositions, and art.
Close-Up Performance and Personal Dynamic
He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not usually matched on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Bodily Image
On Instagram, followers can see clips from his dance films and photos that highlight a sculpted physique. Does he mind that the response can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—something that can be seen on various ways.
Ball characterizes his early self as "eager for success." Did it met his expectations? "I am conscious of how reality is a separate reality to the dreams you made as a young person," he muses. He likely has about decade of performing left. "I suppose in the future, I want to be a bit more kind with myself."
