In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his arms defined beneath a plain tee. On stage, dancers can appear like mighty deities, yet frequently in person they are petite. Not so Ball, whose height is one reason for his demand for princely characters and pas de deux work. With fine features and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Top
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he faced minimal ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was advanced each year, reaching the highest position of lead dancer in 2018. He has relished tackling substantial characters, particularly the emotional turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is in a talk, in an "In Conversation" series designed to offer intimate insights into a performer's art. He will guide the audience through a role, demonstrating his mental workflow while execution. Even in lighter works, the test is profound. "Don Quixote is one of the toughest technically," he notes.
The Psychological Struggle and Post-Performance Feelings
What about after a show, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the character, quite often I do feel self-conscious afterwards. After an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously observed on a "kind of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Creative Inspirations
His determination stemmed from early setbacks. Not excelling in competitions at school made him "vengeful!" This became motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming challenge is creating his own choreography. In his view, "organic movement has value." "Challenging the rules is compelling, 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 meaning, drawing ideas from literature, compositions, and art.
Intimate Performance and Private Dynamic
He additionally favors staging dance in more intimate venues. "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 perspiring.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite supporter."
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 response can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be interpreted on various 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 reality to the aspirations you had as a young person," he muses. He probably has another ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
