In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is naturally upright, his arms defined beneath a plain tee. On stage, ballet dancers can appear like mighty deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic roles and pas de deux work. Possessing fine features and intense eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Entering the Royal Ballet School at 11, he graduated directly into the troupe and was promoted each year, attaining the top rank of lead dancer in 2018. He has loved taking on meaty characters, 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."
Ball's next featured appearance is in a talk, in an "Evening With" event designed to offer behind-the-scenes insights into a performer's craft. He will guide the audience through a role, showing his cognitive workflow during performance. Yet in lighter ballets, 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 after a performance, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to extract all the juice out of it, and get lost in the character, frequently I do feel self-conscious later. Following an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I'm quite energetic 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 catalyst for good change."
Early Drivers and Creative Inspirations
Ball's determination stemmed from youthful experiences. Not excelling in contests at school made him "driven!" This became fuel to demonstrate 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 remembers.
The next endeavor is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is compelling, 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 meaning, drawing ideas from literature, music, and art.
Close-Up Performance and Personal Dynamic
He additionally favors staging dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not typically matched on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Image
On social media, fans can see clips from his dance films and photos that showcase a athletic form. Does he care that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball describes his younger self as "eager for success." Has it met his expectations? "I feel very aware of how reality is a separate reality to the dreams you made as a child," he muses. He likely has about decade of performing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
