Within the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his limbs muscular beneath a simple tee. On stage, dancers can seem like mighty gods, yet frequently offstage they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and partnering. Possessing delicate traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Top
At 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the Royal Ballet School at 11, he graduated directly into the troupe and was advanced each year, reaching the highest position of principal in 2018. He has loved taking on substantial dramatic roles, especially the psychological angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring role is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's art. He will walk the crowd through a role, showing his cognitive process while execution. Even in more comedic works, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Mental Struggle and After the Show Emotions
What about after a performance, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, frequently I do feel self-conscious afterwards. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer once 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 negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Motivations and Creative Influences
Ball's tenacity stemmed from early setbacks. Not doing well in contests at school made him "vengeful!" This became motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
The next endeavor is making his own dance works. For Ball, "there's nothing wrong with." "Breaking the rules is compelling, 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 Dance and Personal Dynamic
He additionally favors presenting dance in smaller 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 person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."
On Social Media and Physical Perception
On social media, followers can see clips from his projects and photos that highlight a sculpted form. Does he care 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 seeing Michelangelo’s David—an object that can be seen on multiple ways.
Ball characterizes his younger self as "eager for success." Did it lived up to his expectations? "I am conscious of how reality is a separate reality to the dreams you had as a child," he reflects. He likely has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
