🔗 Share this article

Within the hushed atmosphere of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. The dancer's carriage is naturally upright, his arms muscular beneath a plain tee. During performances, dancers can appear as powerful gods, yet frequently in person they are petite. Not so Ball, whose tall stature is one reason for his demand for princely characters and pas de deux work. With delicate features and intense eyes, there's a hint of a brooding actor about him.

A Seamless Ascent to the Top

At 31, Ball is enjoying the peak of a career that has progressed smoothly. Raised in Liverpool, he encountered little ridicule for his childhood interest in ballet. Joining the Royal Ballet School at 11, he moved straight into the troupe and was promoted annually, attaining the highest position of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.

"Your breath is short, your legs get heavy, but it’s really a mental fatigue."

His upcoming starring appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's art. He will walk the crowd through a part, showing his cognitive process during execution. Yet in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.

The Psychological Struggle and Post-Performance Emotions

How does he feel after a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel embarrassed afterwards. After an intense role I'm always like: God, what must people think?"

In person, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."

Early Motivations and Artistic Inspirations

Ball's tenacity originated in early experiences. Not excelling in competitions at school made him "driven!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.

The next endeavor is creating his own choreography. In his view, "organic movement has value." "Challenging the rules is compelling, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be loaded with substance, drawing inspiration from books, compositions, and art.

Close-Up Dance and Personal Partnership

He also is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a previous show. "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 clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually matched on stage at their home company, 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 biggest supporter."

On Social Media and Bodily Image

On Instagram, followers can see videos from his projects and images that highlight a sculpted form. Does he care that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very protective 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 expectations? "I feel very aware of how reality is a separate thing to the dreams you made as a child," he reflects. He probably has another decade of dancing ahead. "I suppose in the future, I want to be a bit more gentle with myself."