Within the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his arms muscular beneath a plain tee. On stage, ballet dancers can seem like powerful gods, yet frequently in person they are petite. This is not true for Ball, whose tall stature is part of his popularity for princely roles and pas de deux work. With delicate traits and piercing eyes, there's a touch of Robert Pattinson about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was promoted annually, reaching the top rank of lead dancer in 2018. He has relished tackling meaty characters, especially 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."
His upcoming starring appearance is in a talk, in an "In Conversation" event designed to offer intimate perspectives into a performer's art. He will guide the crowd through a part, showing his mental process while execution. Yet in more comedic works, the test is profound. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Struggle and Post-Performance Feelings
How does he feel following a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, frequently I do feel self-conscious afterwards. After an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Creative Influences
His tenacity originated in early experiences. Not doing well in competitions 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 obsessive," he recalls.
An upcoming challenge is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is interesting, 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 substance, drawing inspiration from books, music, and painting.
Close-Up Dance and Personal Dynamic
He also is interested in staging dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree 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 are not 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. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Perception
On Instagram, fans can see videos from his projects and images that highlight a sculpted form. Does he mind that the engagement can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on various ways.
Ball describes his early self as "desperate for success." Has it met his expectations? "I feel very aware of how reality is a separate reality to the dreams you had as a young person," he muses. He probably has another ten years of dancing left. "I suppose in the future, I want to be a bit more gentle with myself."
