In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his arms defined beneath a simple white T-shirt. On stage, dancers can seem as mighty gods, yet often in person they are petite. This is not true for Ball, whose tall stature is part of his popularity for heroic characters and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Top
Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his childhood passion in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was advanced each year, reaching the highest position of lead dancer in 2018. He has loved taking on 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 mental fatigue."
Ball's upcoming starring role is in a talk, in an "Evening With" event designed to offer behind-the-scenes perspectives into a dancer's art. He will walk the crowd through a part, demonstrating his mental workflow during execution. Yet in more comedic ballets, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Game and Post-Performance Feelings
What about following a show, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel embarrassed later. After an intense role I'm always like: Wow, 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 "kind of suffering in him." Does this exist? "I am very active in general, 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 good change."
Formative Drivers and Creative Inspirations
Ball's tenacity stemmed from early 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 "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming endeavor is making his own choreography. In his view, "organic movement has value." "Challenging the conventions 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 wants his work to be filled with substance, drawing inspiration from literature, compositions, and art.
Intimate Performance and Personal Dynamic
He additionally 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 realizing: 'That’s a human, and they’re perspiring.'"
Ball has created duets with his partner, fellow lead dancer Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They are not typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see videos from his dance films and photos that highlight a sculpted physique. Does he mind that the engagement can be somewhat 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 viewing Michelangelo’s David—something that can be seen on various ways.
Ball characterizes his early self as "eager for success." Did it lived up to his hopes? "I am conscious of how life is a different thing to the aspirations you made as a young person," he reflects. He probably has about decade of performing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
