In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his limbs defined beneath a plain tee. On stage, dancers can seem like powerful gods, yet frequently offstage they are small. This is not true for Ball, whose tall stature is part of his popularity for heroic characters and pas de deux work. With delicate traits and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Top
Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he faced minimal teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was advanced annually, reaching the top rank of principal in 2018. He has loved tackling meaty dramatic roles, particularly the psychological turmoil found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next featured role is in a talk, in an "In Conversation" series designed to offer intimate insights into a dancer's craft. He will guide the crowd through a role, demonstrating his cognitive workflow during performance. Even in lighter works, the test is profound. "A classic ballet is one of the toughest technically," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel following 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 lost in the role, quite often I do feel self-conscious later. Following Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Drivers and Artistic Influences
Ball's determination stemmed from youthful setbacks. Not excelling in contests 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 changed everything, it made me go a bit obsessive," he remembers.
An upcoming endeavor is creating his own choreography. For Ball, "organic movement has value." "Challenging the rules is interesting, but just acting 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 filled with substance, drawing ideas from books, compositions, and art.
Close-Up Performance and Personal Dynamic
He additionally favors staging dance in smaller spaces. "It was just really thrilling," he says of a previous show. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Image
On social media, followers can see clips from his dance films and images that showcase a athletic form. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we work with, 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 multiple levels.
Ball characterizes his early self as "eager for success." Has it lived up to his hopes? "I feel very aware of how reality is a separate reality to the dreams you made as a young person," he reflects. He likely has about decade of performing left. "I guess in the future, I want to be a bit more gentle with myself."
