Within the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs defined beneath a simple tee. During performances, dancers can appear as mighty gods, yet often in person they are small. Not so Ball, whose tall stature is one reason for his demand for princely characters and pas de deux work. Possessing delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted annually, attaining the highest position of principal in 2018. He has relished tackling meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will walk the audience through a role, showing his mental process while performance. Yet in more comedic ballets, the test is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.
The Mental Struggle and After the Show Emotions
What about following 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 self-conscious afterwards. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Early Drivers and Creative Inspirations
Ball's determination stemmed from youthful experiences. Not doing well in contests at school made him "driven!" This became fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next challenge is making his own dance works. In his view, "organic movement has value." "Breaking the conventions is interesting, 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 loaded with meaning, drawing ideas from books, compositions, and painting.
Intimate Performance and Private Dynamic
He additionally favors presenting dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
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 aren’t typically matched on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Image
On social media, fans can see videos from his projects and photos that showcase a athletic form. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball characterizes his early self as "desperate for success." Did it met his expectations? "I am conscious of how reality is a different reality to the aspirations you made as a young person," he reflects. He likely has another ten years of performing left. "I suppose in the future, I want to be a bit more kind with myself."
