Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally upright, his limbs defined beneath a simple tee. During performances, ballet dancers can appear like mighty deities, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is one reason for his demand for heroic characters and pas de deux work. With fine features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was advanced each year, reaching the highest position of principal in 2018. He has relished tackling meaty dramatic roles, especially the psychological angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next featured role is in a talk, in an "In Conversation" series designed to offer intimate perspectives into a dancer's art. He will guide the audience through a role, showing his cognitive process while performance. Even in lighter works, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Game and Post-Performance Emotions
How does he feel after a performance, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a dance maker previously observed on a "kind of suffering in him." Does this exist? "I'm quite active in general, 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 positive change."
Formative Drivers and Creative Influences
Ball's tenacity stemmed from youthful setbacks. Not excelling in competitions at school made him "vengeful!" It was motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own choreography. In his view, "organic movement has value." "Challenging the rules is interesting, 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 meaning, drawing inspiration from literature, compositions, and painting.
Close-Up Dance and Private Partnership
He also favors presenting 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 realizing: 'That’s a human, and they’re sweating.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t typically paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On social media, fans can see videos from his dance films and images that showcase a sculpted form. Does he care that the response 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—something that can be seen on various ways.
Ball characterizes his younger self as "eager for success." Did it met his hopes? "I am conscious of how reality is a separate thing to the dreams you made as a young person," he reflects. He likely has about decade of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."
