Within the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can seem as powerful deities, yet frequently in person they are petite. This is not true for Ball, whose height is part of his demand for princely roles and pas de deux work. Possessing delicate features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is enjoying the peak of a career that has progressed seamlessly. Growing up in Liverpool, he faced little teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was advanced annually, reaching the top rank of principal in 2018. He has loved tackling meaty dramatic roles, particularly the emotional angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured role is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a performer's art. He will walk the crowd through a role, showing his cognitive process during execution. Even in lighter works, the challenge is profound. "Don Quixote is one of the most demanding technically," he states.
The Mental Struggle and Post-Performance Emotions
How does he feel after a show, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to extract all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a dance maker previously observed on a "sense of suffering in him." Is there? "I am very active usually, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Artistic Inspirations
His tenacity stemmed from youthful setbacks. Not excelling in competitions at school made him "driven!" It was motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming endeavor is creating his own choreography. In his view, "organic movement has value." "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 inspiration from literature, compositions, and art.
Close-Up Performance and Private Dynamic
He additionally favors presenting dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They are not typically matched on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his dance films and photos that highlight a sculpted form. Does he care 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 precious about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how reality is a different thing to the dreams you made as a young person," he muses. He likely has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
