Within the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms defined beneath a simple white T-shirt. During performances, ballet dancers can appear as powerful gods, yet frequently offstage they are petite. Not so Ball, whose height is one reason for his popularity for princely characters and pas de deux work. With fine traits and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is enjoying the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered little ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was advanced annually, reaching the highest position of principal in 2018. He has loved tackling meaty dramatic roles, especially the psychological 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 appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's craft. He will guide the audience through a role, showing his mental process during performance. Even in more comedic works, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Game and After the Show Feelings
What about following a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, frequently I do feel self-conscious later. Following Mayerling I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker once remarked on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a dark side," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Early Motivations and Creative Influences
Ball's tenacity originated in early setbacks. Not excelling in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
The next endeavor is making his own choreography. For Ball, "organic movement has value." "Challenging the rules 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 aims his work to be loaded with meaning, drawing ideas from books, music, and painting.
Intimate Performance and Private Partnership
He also is interested in presenting dance in more intimate venues. "It was just really exciting," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created duets with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They aren’t typically paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Bodily Perception
On Instagram, fans can see videos from his projects and photos that highlight a athletic physique. Does he care that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—something that can be interpreted on various ways.
Ball characterizes his early self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how reality is a different thing to the dreams you had as a young person," he reflects. He probably has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
