Within the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball orders a mint tea. His carriage is naturally upright, his limbs muscular beneath a simple tee. On stage, dancers can seem like powerful gods, yet often offstage they are petite. This is not true for Ball, whose height is part of his demand for princely roles and pas de deux work. Possessing fine features and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has advanced smoothly. Raised in Liverpool, he faced minimal teasing for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the company and was advanced annually, reaching the top rank of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the emotional angst found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is as himself, in an "Evening With" event designed to offer behind-the-scenes insights into a dancer's art. He will walk the crowd through a role, showing his cognitive process while performance. Yet in more comedic ballets, the test is significant. "A classic ballet is one of the toughest technically," he notes.
The Psychological Game and After the Show Emotions
What about after a performance, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel self-conscious afterwards. Following 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. Yet a choreographer previously remarked on a "sense of suffering in him." Is there? "I am very active in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Early Drivers and Artistic Inspirations
Ball's determination originated in early experiences. Not excelling in contests at school made him "driven!" It was motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next endeavor is making his own choreography. For Ball, "organic movement has value." "Breaking the rules is interesting, but just acting 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 filled with substance, drawing ideas from literature, music, and art.
Close-Up Performance and Private Partnership
He also is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They aren’t typically 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 admits. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Image
On Instagram, fans can see videos from his projects and photos that showcase a sculpted physique. Does he mind that the response can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on various levels.
Ball describes his early self as "eager for success." Did it lived up to his expectations? "I am conscious of how reality is a different reality to the aspirations you had as a young person," he muses. He probably has about decade of dancing left. "I guess in the future, I want to be a bit more gentle with myself."
