Within the hushed atmosphere of a hotel bar near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is effortlessly straight-backed, his arms muscular beneath a plain tee. On stage, dancers can appear as mighty deities, yet often in person they are small. This is not true for Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. Possessing delicate traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was advanced annually, reaching the top rank of principal in 2018. He has relished tackling meaty dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a dancer's craft. He will walk the audience through a part, demonstrating his cognitive workflow during execution. Yet in lighter ballets, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Mental Game and Post-Performance Feelings
How does he feel after a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel embarrassed later. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."
Formative Motivations and Artistic Influences
His determination stemmed from youthful setbacks. Not doing well in contests at school made him "vengeful!" It was motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming endeavor is making his own choreography. In his view, "organic movement has value." "Breaking the conventions 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 wants his work to be filled with meaning, drawing ideas from literature, music, and painting.
Intimate Dance and Personal Partnership
He additionally is interested in staging dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They aren’t usually paired on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, fans can see clips from his dance films and photos that highlight a sculpted physique. Does he mind that the engagement can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
Ball characterizes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how reality is a separate thing to the dreams you made as a child," he reflects. He likely has about ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
