In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly upright, his arms defined beneath a simple tee. On stage, ballet dancers can seem as mighty gods, yet frequently offstage they are small. This is not true for Ball, whose tall stature is one reason for his popularity for heroic roles and partnering. With fine features and intense 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 advanced smoothly. Growing up in Liverpool, he encountered little ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was advanced each year, attaining the highest position of principal in 2018. He has loved taking on substantial characters, especially 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 next starring role is as himself, in an "In Conversation" event designed to offer intimate perspectives into a performer's craft. He will guide the crowd through a role, demonstrating his mental process during performance. Yet in more comedic ballets, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel after a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel self-conscious afterwards. Following an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I'm quite energetic usually, 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."
Early Motivations and Creative Inspirations
Ball's tenacity stemmed from early experiences. Not doing well in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the rules 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 filled with substance, drawing inspiration from literature, music, and art.
Close-Up Performance and Private Partnership
He additionally favors presenting dance in smaller venues. "It was just really thrilling," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created duets with his partner, 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 aren’t usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Physical Perception
On social media, fans can see videos from his projects and images that showcase a athletic form. Does he care that the response can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—something that can be seen on multiple levels.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how reality is a different thing to the aspirations you made as a young person," he muses. He likely has another decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
