In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is naturally straight-backed, his arms muscular beneath a simple white T-shirt. During performances, dancers can seem as powerful gods, yet often offstage they are petite. Not so Ball, whose height is part of his popularity for princely roles and pas de deux work. Possessing fine traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was advanced annually, attaining the highest position of principal in 2018. He has loved tackling substantial characters, particularly the emotional angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is in a talk, in an "Evening With" series designed to offer intimate insights into a performer's art. He will guide the crowd through a part, demonstrating his mental workflow during performance. Yet in more comedic ballets, the challenge is significant. "A classic ballet 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 pulled it off? "It's pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get lost in the role, quite often I do feel embarrassed afterwards. After Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a dance maker previously observed on a "kind of suffering in him." Is there? "I'm quite active in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Early Motivations and Artistic Influences
His determination originated in early setbacks. Not doing well in competitions at school made him "driven!" This became fuel to prove he could achieve. Reading 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 dance works. For Ball, "organic movement has value." "Challenging the conventions is compelling, 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 loaded with meaning, drawing inspiration from literature, music, and art.
Intimate Performance and Private Dynamic
He also favors staging dance in more intimate spaces. "It was just really exciting," he says of a previous show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They aren’t usually paired on stage at their home company, which might be healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Perception
On Instagram, followers can see clips from his projects and photos that showcase a sculpted physique. Does he care that the engagement can be somewhat focused on appearance? 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 interpreted on multiple levels.
Ball characterizes his younger self as "desperate for success." Has it met his hopes? "I feel very aware of how reality is a separate thing to the aspirations you made as a young person," he reflects. He probably has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
