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Ballet Luminary Matthew Ball on Grueling Parts and Online Attention: 'I'm Not Precious About My Body'

In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his limbs defined beneath a plain tee. On stage, ballet dancers can appear like powerful gods, yet often 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 intense eyes, there's a touch of Robert Pattinson about him.

A Seamless Ascent to the Pinnacle

At 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal teasing for his early passion in ballet. Joining the Royal Ballet School at 11, he graduated straight into the troupe and was advanced each year, attaining the highest position of principal in 2018. He has relished taking on substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.

"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."

His next featured role is as himself, in an "In Conversation" event aiming to offer intimate insights into a dancer's art. He will guide the audience through a part, demonstrating his mental process during execution. Yet in more comedic works, the challenge is significant. "Don Quixote is one of the toughest technically," he notes.

The Psychological Struggle and Post-Performance Feelings

What about after a show, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get lost in the role, frequently I do feel embarrassed afterwards. After Mayerling I'm always thinking: God, what must people think?"

Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a dance maker previously remarked on a "sense of suffering in him." Is there? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."

Early Motivations and Artistic Inspirations

His determination originated in early experiences. Not doing well in contests at school made him "vengeful!" It was motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.

An upcoming challenge is creating his own dance works. For Ball, "there's nothing wrong with." "Challenging the conventions 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 filled with substance, drawing ideas from literature, music, and painting.

Close-Up Performance and Personal Dynamic

He additionally favors presenting dance in more intimate spaces. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"

Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not typically paired on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."

On Social Media and Physical Perception

On social media, fans can see clips from his projects and photos that showcase a athletic form. Does he care that the engagement can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.

Ball characterizes his younger self as "eager for success." Did it met his expectations? "I am conscious of how reality is a separate reality to the aspirations you made as a young person," he muses. He probably has about decade of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."

Written by

James Graham

A seasoned gambling analyst with over a decade of experience in UK casino markets, specializing in game reviews and responsible betting practices.

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