Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his arms muscular beneath a simple tee. On stage, ballet dancers can appear as mighty deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic roles and partnering. Possessing delicate features and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was promoted annually, reaching the highest position of principal in 2018. He has relished tackling substantial dramatic roles, particularly the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring role is in a talk, in an "In Conversation" event aiming to offer intimate insights into a performer's craft. He will walk the audience through a part, demonstrating his mental workflow during execution. Yet in lighter ballets, the test is significant. "Don Quixote is one of the most demanding technically," he states.
The Psychological Game and Post-Performance Emotions
What about following 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, quite often I do feel embarrassed afterwards. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Is there? "I am very energetic in general, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Formative Drivers and Artistic Influences
His determination stemmed from youthful setbacks. Not doing well in competitions at school made him "driven!" This became motivation 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 fanatical," he remembers.
An upcoming endeavor is making his own choreography. In his view, "organic movement has value." "Challenging the conventions is interesting, but just pretending 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 substance, drawing ideas from books, music, and painting.
Close-Up Performance and Private Dynamic
He additionally is interested in staging dance in smaller 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 human, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not usually paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Perception
On Instagram, followers can see clips from his projects and photos that showcase a sculpted physique. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be seen on various ways.
Ball describes his younger self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how life is a separate thing to the aspirations you had as a young person," he reflects. He probably has another ten years of dancing left. "I guess in the future, I want to be a bit more gentle with myself."
