In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his limbs defined beneath a simple white T-shirt. During performances, ballet dancers can seem like mighty deities, yet frequently offstage they are small. This is not true for Ball, whose height is part of his popularity for heroic characters and pas de deux work. Possessing fine traits and intense eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Raised in Liverpool, he encountered little teasing for his early interest in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was advanced each year, attaining the top rank of principal in 2018. He has loved tackling substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured appearance is as himself, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a dancer's craft. He will guide the audience through a role, showing his mental process during performance. Yet in lighter works, the test is significant. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel following a performance, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel self-conscious later. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer previously observed on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Motivations and Creative Influences
His tenacity originated in youthful setbacks. Not doing well in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming endeavor is making his own dance works. For Ball, "organic movement has value." "Challenging the rules 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 wants his work to be loaded with meaning, drawing ideas from literature, compositions, and painting.
Intimate Dance and Personal Dynamic
He also is interested in staging dance in smaller spaces. "It was just really exciting," he says of a past show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They are not typically paired on stage at their home company, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Perception
On Instagram, fans can see clips from his dance films and images that showcase a athletic physique. Does he mind that the response can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on various ways.
Ball describes his younger self as "desperate for success." Did it met his hopes? "I feel very aware of how reality is a separate thing to the dreams you made as a child," he muses. He likely has about ten years of dancing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
