In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his arms defined beneath a plain tee. On stage, ballet dancers can appear like powerful gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is part of his popularity for heroic characters and pas de deux work. With delicate features and piercing eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Top
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Raised in Liverpool, he encountered little ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was promoted each year, attaining the highest position of lead dancer in 2018. He has loved tackling substantial dramatic roles, particularly the emotional angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next starring appearance is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's craft. He will walk the audience through a role, showing his mental workflow while execution. Yet in lighter works, the test is significant. "Don Quixote is one of the toughest technically," he states.
The Psychological Struggle and After the Show Emotions
How does he feel following a performance, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel self-conscious afterwards. After Mayerling I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a dance maker once remarked on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Motivations and Creative Influences
His determination originated in early setbacks. Not excelling in competitions at school made him "driven!" It was fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming challenge is creating his own dance works. For Ball, "organic movement has value." "Breaking the rules 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 painting.
Close-Up Performance and Private Dynamic
He additionally favors staging dance in more intimate spaces. "It was just really exciting," he says of a previous experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, 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." The couple are not typically matched on stage at their home company, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Bodily Image
On Instagram, fans can see videos from his projects and photos that highlight a sculpted form. Does he mind that the engagement can be somewhat focused on appearance? 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—something that can be interpreted on multiple levels.
Ball describes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how reality is a separate thing to the dreams you made as a child," he reflects. He likely has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
