In the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his arms defined beneath a plain tee. On stage, ballet dancers can seem like powerful deities, yet often in person they are small. This is not true for Ball, whose height is one reason for his demand for princely characters and partnering. Possessing fine features and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved directly into the troupe and was promoted each year, reaching the highest position of lead dancer in 2018. He has relished taking on substantial dramatic roles, particularly the psychological turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will walk the crowd through a part, showing his cognitive workflow while execution. Even in lighter ballets, the test is significant. "A classic ballet is one of the toughest technically," he states.
The Mental Struggle and After the Show Feelings
What about following a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed 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 thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a dark side," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Early Motivations and Creative Influences
Ball's determination originated in youthful setbacks. Not excelling in competitions at school made him "driven!" This became motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is creating his own choreography. For Ball, "organic movement has value." "Breaking 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 loaded with substance, drawing ideas from literature, compositions, and art.
Intimate Dance and Private Dynamic
He also favors staging dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They aren’t typically paired on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On Instagram, followers can see videos from his projects and images that highlight a sculpted form. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "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—something that can be seen on various levels.
Ball characterizes his younger self as "desperate for success." Did it met his hopes? "I am conscious of how reality is a separate thing to the dreams you had as a child," he reflects. He likely has another decade of dancing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
