In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his limbs defined beneath a simple white T-shirt. During performances, dancers can appear like mighty deities, yet often in person they are petite. This is not true for Ball, whose height is part of his demand for princely roles and partnering. With delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he faced minimal ridicule for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was promoted annually, attaining the top rank of principal in 2018. He has relished taking on meaty characters, especially the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is as himself, in an "In Conversation" event aiming to offer intimate perspectives into a performer's craft. He will guide the audience through a role, demonstrating his cognitive process during execution. Yet in more comedic ballets, the challenge is profound. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Mental Game and After the Show Feelings
What about following 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 role, frequently I do feel self-conscious afterwards. Following Mayerling I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Is there? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Early Motivations and Creative Influences
Ball's determination originated in youthful setbacks. Not excelling in contests at school made him "driven!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is creating his own choreography. For Ball, "organic movement has value." "Challenging the conventions is interesting, but just pretending 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 substance, drawing ideas from literature, compositions, and painting.
Intimate Performance and Private Partnership
He also is interested in staging dance in more intimate spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not typically matched on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Image
On Instagram, followers can see clips from his dance films and photos that showcase a sculpted physique. Does he care that the engagement 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 viewing Michelangelo’s David—an object that can be interpreted on various ways.
Ball describes his younger self as "eager for success." Has it met his hopes? "I feel very aware of how reality is a separate thing to the dreams you made as a young person," he reflects. He probably has another decade of performing ahead. "I guess in the future, I want to be a bit more kind with myself."
