In the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly upright, his limbs 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 pas de deux work. Possessing delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he encountered little ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was advanced each year, attaining the top rank of lead dancer in 2018. He has loved taking on substantial dramatic roles, particularly the emotional turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is as himself, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a dancer's art. He will guide the crowd through a part, showing his mental process during performance. Even in lighter works, the test is profound. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Mental Struggle and After the Show Emotions
What about after a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the role, quite often I do feel self-conscious afterwards. Following Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, polite, and prone to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Is there? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Motivations and Creative Inspirations
Ball's tenacity originated in youthful experiences. Not doing well in contests at school made him "driven!" It was fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
The next challenge is making his own choreography. In his view, "there's nothing wrong with." "Challenging the conventions 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 wants his work to be filled with substance, drawing inspiration from literature, music, and art.
Close-Up Dance and Personal Dynamic
He additionally is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were thinking: '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 audacious lift. "It resembled Dirty Dancing." They are not typically matched on stage at their main theater, which is perhaps beneficial. "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 cheerleader."
Regarding Instagram and Bodily Image
On social media, fans can see videos from his projects and images that highlight a sculpted form. Does he care that the response can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be seen on various ways.
Ball characterizes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how life is a separate thing to the aspirations you made as a young person," he muses. He likely has another ten years of performing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
