In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is effortlessly straight-backed, his limbs defined beneath a simple white T-shirt. On stage, dancers can seem like mighty gods, yet frequently offstage they are petite. Not so Ball, whose height is part of his popularity for heroic characters and pas de deux work. Possessing delicate features and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is enjoying the peak of a career that has progressed smoothly. Growing up in Liverpool, he faced little ridicule for his early interest in ballet. Entering the Royal Ballet School at 11, he moved directly into the troupe and was promoted annually, reaching the top rank of lead dancer in 2018. He has loved tackling meaty dramatic roles, particularly the emotional angst found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring role is as himself, in an "In Conversation" event aiming to offer intimate insights into a dancer's craft. He will guide the crowd through a part, demonstrating his cognitive workflow during performance. Even in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding technically," he notes.
The Psychological Struggle and Post-Performance Feelings
What about after a performance, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel embarrassed afterwards. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."
Formative Motivations and Creative Influences
Ball's determination originated in youthful setbacks. Not doing well in competitions at school made him "driven!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own dance works. For Ball, "there's nothing wrong with." "Breaking the rules 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 aims his work to be filled with meaning, drawing ideas from literature, compositions, and painting.
Close-Up Performance and Personal Dynamic
He additionally is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "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 home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Bodily Perception
On Instagram, followers can see clips from his dance films and photos that showcase a sculpted physique. Does he mind that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to viewing 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 hopes? "I am conscious of how reality is a separate thing to the aspirations you had as a child," he reflects. He probably has another ten years of dancing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
