Within the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs muscular beneath a plain tee. During performances, ballet dancers can appear like mighty deities, yet often in person they are petite. Not so Ball, whose height is one reason for his popularity for princely roles and pas de deux work. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was advanced each year, reaching the top rank of principal in 2018. He has relished taking on substantial dramatic roles, especially the psychological angst found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured role is in a talk, in an "Evening With" event designed to offer intimate perspectives into a performer's art. He will walk the audience through a role, demonstrating his cognitive process while performance. Even in lighter ballets, the test is profound. "A classic ballet is one of the toughest technically," he notes.
The Mental Game and Post-Performance Feelings
What about after a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious later. Following Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Does this exist? "I'm quite active usually, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Creative Inspirations
Ball's determination originated in youthful setbacks. Not doing well in competitions at school made him "driven!" It was fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming challenge is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the rules is compelling, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be filled with meaning, drawing ideas from books, compositions, and painting.
Intimate Dance and Private Dynamic
He additionally is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a previous show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple are not usually paired on stage at their main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Perception
On social media, followers can see videos from his dance films and photos that highlight a athletic physique. Does he care that the response can be somewhat focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be seen on various ways.
Ball describes his early self as "desperate for success." Has it met his expectations? "I feel very aware of how life is a different reality to the dreams you had as a child," he reflects. He likely has about ten years of performing left. "I suppose in the future, I want to be a bit more gentle with myself."
