Within the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his arms muscular beneath a plain white T-shirt. On stage, dancers can appear like powerful gods, yet often in person they are petite. Not so Ball, whose tall stature is part of his demand for princely roles and pas de deux work. With fine features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Top
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced little ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the company and was advanced each year, attaining the highest position of principal in 2018. He has relished taking on substantial characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is in a talk, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a performer's art. He will guide the crowd through a role, showing his mental process while performance. Yet in lighter ballets, the test is significant. "A classic ballet is one of the toughest technically," he states.
The Mental Struggle and After the Show Feelings
How does he feel after a show, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the character, frequently I do feel embarrassed later. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. But a choreographer once remarked on a "sense of suffering in him." Is there? "I am very active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Drivers and Creative Influences
His tenacity originated in youthful experiences. 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 obsessive," he recalls.
The next challenge is making his own dance works. For Ball, "there's nothing wrong with." "Breaking the conventions is interesting, but just pretending 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 meaning, drawing inspiration from literature, music, and painting.
Close-Up Performance and Personal Dynamic
He also favors presenting dance in more intimate venues. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically paired on stage at their main theater, which might be healthy. "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 Physical Perception
On Instagram, fans can see videos from his projects and photos that showcase a sculpted form. Does he care that the engagement can be somewhat objectifying? 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—something that can be seen on various levels.
Ball characterizes his early self as "eager for success." Has it lived up to his hopes? "I feel very aware of how life is a different thing to the aspirations you made as a young person," he muses. He probably has another ten years of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
