Within 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 limbs defined beneath a simple tee. On stage, ballet dancers can appear as powerful deities, yet often in person they are small. This is not true for Ball, whose tall stature is one reason for his popularity for heroic characters and partnering. Possessing delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Top
Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal ridicule for his childhood interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has loved tackling substantial characters, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring role is in a talk, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will walk the crowd through a role, demonstrating his cognitive workflow during execution. Yet in lighter works, the test is significant. "A classic ballet is one of the toughest technically," he notes.
The Mental Struggle and Post-Performance Feelings
What about following a show, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the character, quite often I do feel self-conscious later. Following an intense role I'm always like: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Motivations and Artistic Influences
His determination stemmed from youthful setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own dance works. For Ball, "organic movement has value." "Challenging 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 aims his work to be filled with meaning, drawing ideas from books, compositions, and painting.
Close-Up Performance and Personal Dynamic
He also favors staging dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "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 main theater, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Physical Image
On social media, followers can see clips from his projects and photos that showcase a sculpted form. Does he mind that the response can be a bit 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 seeing Michelangelo’s David—something that can be seen on multiple ways.
Ball describes his early self as "eager for success." Has it met his expectations? "I feel very aware of how life is a separate reality to the dreams you had as a young person," he muses. He probably has another ten years of performing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
