In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his arms muscular beneath a plain white T-shirt. On stage, ballet dancers can appear like powerful gods, yet often offstage they are small. This is not true for Ball, whose tall stature is one reason for his demand for heroic characters and pas de deux work. Possessing delicate features and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has advanced smoothly. Growing up in Liverpool, he encountered minimal ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was advanced annually, reaching the top rank of lead dancer in 2018. He has loved taking on meaty dramatic roles, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a performer's art. He will walk the audience through a part, demonstrating his mental workflow during execution. Even in lighter works, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Psychological Struggle and After the Show Feelings
How does he feel after a show, when he has succeeded? "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 Mayerling I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer once observed on a "sense of suffering in him." Does this exist? "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 negativity has been an catalyst for positive change."
Formative Drivers and Creative Inspirations
His determination stemmed from early setbacks. Not excelling in competitions at school made him "driven!" This became motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next endeavor is creating his own dance works. For Ball, "there's nothing wrong with." "Breaking the rules is compelling, but just pretending 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 substance, drawing ideas from books, compositions, and painting.
Close-Up Dance and Private Dynamic
He also is interested in staging dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They are not usually 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 supporter."
On Social Media and Bodily Perception
On social media, followers can see clips from his dance films and photos that showcase a athletic form. Does he care that the response can be a bit 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 seeing Michelangelo’s David—something that can be seen on various ways.
Ball describes his early self as "desperate for success." Has it met his hopes? "I am conscious of how life is a separate thing to the aspirations you made as a child," he reflects. He likely has another ten years of dancing ahead. "I guess in the time to come, I want to be a bit more kind with myself."
