Within the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his limbs muscular beneath a simple white T-shirt. During performances, ballet dancers can appear as mighty gods, yet frequently in person they are petite. Not so Ball, whose tall stature is part of his demand for princely characters and pas de deux work. With delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Top
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered little teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was advanced annually, attaining the top rank of lead dancer in 2018. He has loved taking on substantial characters, particularly the emotional angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" event aiming to offer intimate insights into a dancer's art. He will guide the audience through a role, showing his cognitive workflow during execution. Yet in lighter works, the challenge is significant. "A classic ballet is one of the toughest technically," he states.
The Mental Game and After the Show Feelings
How does he feel after a performance, when he has succeeded? "It's pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel self-conscious afterwards. Following an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker once observed on a "kind of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Motivations and Artistic Influences
Ball's determination originated in youthful experiences. Not doing well in contests at school made him "driven!" It was motivation to prove 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 remembers.
An upcoming challenge is making his own dance works. For Ball, "there's nothing wrong with." "Challenging the conventions 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 wants his work to be loaded with meaning, drawing ideas from books, compositions, and painting.
Intimate Dance and Private Dynamic
He additionally is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched 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 notes. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Physical Image
On social media, fans can see clips from his projects and images 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 use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his early self as "desperate for success." Has it lived up to his hopes? "I am conscious of how life is a different thing to the dreams you made as a child," he reflects. He likely has another ten years of dancing left. "I suppose in the future, I want to be a bit more kind with myself."
