In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally upright, his limbs defined beneath a simple tee. During performances, ballet dancers can seem like mighty deities, yet frequently offstage they are petite. This is not true for Ball, whose height is part of his popularity for princely characters and pas de deux work. Possessing fine features and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was advanced annually, attaining the highest position of principal in 2018. He has loved taking on substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next starring role is in a talk, in an "Evening With" event aiming to offer behind-the-scenes insights into a dancer's art. He will walk the audience through a part, demonstrating his mental workflow during performance. Yet in lighter ballets, the test is significant. "A classic ballet is one of the most demanding technically," he states.
The Psychological Struggle and After the Show Emotions
What about after a show, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer once observed on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Formative Drivers and Artistic Inspirations
His tenacity stemmed from youthful setbacks. Not excelling in contests at school made him "vengeful!" This became motivation 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 obsessive," he remembers.
An upcoming endeavor is creating his own choreography. For Ball, "there's nothing wrong with." "Breaking the conventions is interesting, but just acting 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 meaning, drawing inspiration from books, compositions, and painting.
Intimate Performance and Private Dynamic
He additionally is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a previous show. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made 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 are not usually matched on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Bodily Perception
On Instagram, fans can see videos from his projects and images that showcase a sculpted form. Does he mind that the response can be somewhat focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He relates it to viewing Michelangelo’s David—an object that can be seen on multiple ways.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how life is a different thing to the dreams you had as a child," he muses. He probably has about decade of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
