In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his limbs defined beneath a simple white T-shirt. On stage, ballet dancers can seem as mighty gods, yet often offstage they are petite. Not so Ball, whose height is one reason for his popularity for princely 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 enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was advanced each year, reaching the highest position of principal in 2018. He has relished tackling meaty characters, especially the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured appearance is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will guide the audience through a role, showing his mental workflow while execution. Yet in more comedic ballets, the challenge is profound. "Don Quixote is one of the most demanding technically," he states.
The Mental Game and Post-Performance Emotions
How does he feel after a show, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, quite often I do feel self-conscious later. After an intense role I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a dance maker previously remarked on a "kind of suffering in him." Is there? "I'm quite active in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Creative Inspirations
His determination originated in early experiences. Not doing well in contests at school made him "vengeful!" It was 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 fanatical," he remembers.
The next challenge is creating his own choreography. In his view, "there's nothing wrong with." "Breaking 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 wants his work to be filled with meaning, drawing inspiration from books, music, and painting.
Close-Up Performance and Personal Partnership
He also is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a previous experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not usually matched on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his projects and photos that showcase a sculpted physique. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to seeing Michelangelo’s David—an object that can be interpreted on various ways.
Ball describes his younger self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how life is a separate reality to the dreams you made as a young person," he reflects. He likely has about ten years of dancing left. "I guess in the future, I want to be a bit more kind with myself."
