In the hushed 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 plain tee. During performances, dancers can seem like powerful gods, yet frequently in person they are small. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. With fine features and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he encountered little ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was advanced annually, attaining the highest position of principal in 2018. He has loved tackling meaty dramatic roles, particularly the emotional turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a performer's craft. He will guide the crowd through a role, demonstrating his cognitive workflow during execution. Even in lighter ballets, the test is significant. "Don Quixote is one of the toughest from a skill perspective," he states.
The Mental Game and Post-Performance Emotions
How does he feel after a performance, 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, frequently I do feel self-conscious later. After Mayerling I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker once observed on a "sense 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 pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Creative Influences
Ball's determination originated in early setbacks. Not doing well in contests at school made him "vengeful!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is making his own dance works. For Ball, "organic movement has value." "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 aims his work to be filled with substance, drawing inspiration from literature, music, and art.
Close-Up Dance and Personal Partnership
He additionally is interested in presenting dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t typically 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 admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Perception
On social media, fans can see videos from his dance films and photos that showcase a athletic form. Does he care that the response can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Has it met his expectations? "I feel very aware of how reality is a separate thing to the dreams you had as a young person," he muses. He likely has about ten years of performing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
