In the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his limbs muscular beneath a simple white T-shirt. During performances, ballet dancers can seem as mighty gods, yet often in person they are small. Not so Ball, whose tall stature is one reason for his popularity for princely characters and pas de deux work. Possessing fine traits and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was promoted each year, attaining the highest position of principal in 2018. He has loved tackling meaty dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next starring role is in a talk, in an "Evening With" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will guide the crowd through a part, showing his mental process during execution. Yet in lighter works, the challenge is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Struggle and Post-Performance Emotions
What about following a performance, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to extract all the juice out of it, and get lost in the character, quite often I do feel self-conscious later. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I am very active usually, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Artistic Inspirations
Ball's determination stemmed from youthful experiences. Not doing well in competitions at school made him "vengeful!" This became 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 remembers.
An upcoming challenge is creating his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions 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 wants his work to be filled with substance, drawing ideas from literature, music, and art.
Intimate Performance and Personal Dynamic
He additionally is interested in presenting dance in smaller spaces. "It was just really exciting," 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 created pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t typically matched 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 favorite supporter."
Regarding Instagram and Physical Perception
On social media, followers can see videos from his projects and photos that showcase a athletic form. Does he mind that the response can be a bit focused on appearance? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball describes his younger self as "eager for success." Did it met his hopes? "I am conscious of how reality is a separate reality to the dreams you made as a young person," he muses. He likely has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
