Within the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly upright, his arms muscular beneath a plain white T-shirt. On stage, ballet dancers can seem as powerful deities, yet often offstage 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. Possessing delicate features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was advanced annually, reaching the top rank of lead dancer in 2018. He has relished taking on substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring role is as himself, in an "Evening With" event designed to offer intimate insights into a performer's art. He will walk the audience through a role, demonstrating his mental workflow while performance. Yet in lighter ballets, the test is significant. "Don Quixote is one of the toughest technically," he states.
The Psychological Struggle and After the Show Feelings
What about following a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel embarrassed later. Following Mayerling I'm always thinking: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "sense of suffering in him." Is there? "I'm quite active 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 positive change."
Formative Motivations and Creative Influences
Ball's determination stemmed from early experiences. Not excelling in contests at school made him "driven!" It was motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming endeavor is creating his own choreography. For Ball, "organic movement has value." "Breaking 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 aims his work to be filled with substance, drawing inspiration from books, music, and painting.
Close-Up Dance and Private Partnership
He additionally favors presenting dance in more intimate spaces. "It was just really thrilling," he says of a previous experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple are not typically paired on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Perception
On Instagram, fans can see videos from his dance films and photos that highlight a athletic form. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his early self as "desperate for success." Has it lived up to his expectations? "I feel very aware of how life is a different reality to the aspirations you had as a child," he reflects. He likely has about decade of dancing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
