In the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly upright, his arms muscular beneath a simple white T-shirt. On stage, dancers can appear like mighty gods, yet often offstage they are petite. Not so Ball, whose tall stature is one reason for his demand for heroic characters and pas de deux work. Possessing fine features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced little teasing for his early passion in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted annually, attaining the highest position of lead dancer in 2018. He has relished tackling substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next featured role is as himself, in an "In Conversation" event aiming to offer intimate perspectives into a performer's craft. He will guide the audience through a role, demonstrating his cognitive process during performance. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the toughest technically," he notes.
The Psychological Game and Post-Performance Feelings
What about following a show, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious afterwards. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Does this exist? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Formative Drivers and Artistic Influences
Ball's determination stemmed from youthful experiences. Not doing well in contests at school made him "driven!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming endeavor is making his own dance works. In his view, "there's nothing wrong with." "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 wants his work to be loaded with meaning, drawing ideas from literature, compositions, and painting.
Intimate Dance and Private Dynamic
He also favors presenting dance in more intimate venues. "It was just really exciting," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Image
On social media, fans can see clips from his projects and images that highlight a athletic form. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—an object that can be interpreted on various ways.
Ball describes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a separate thing to the dreams you had as a young person," he reflects. He probably has another decade of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
