Within the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly straight-backed, his arms defined beneath a simple tee. On stage, ballet dancers can seem like powerful deities, yet often offstage they are petite. This is not true for Ball, whose tall stature is part of his demand for princely characters and partnering. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is enjoying 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 directly into the troupe and was advanced annually, attaining 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 works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next featured appearance is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's art. He will walk the audience through a role, demonstrating his cognitive workflow while performance. Yet in more comedic works, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.
The Psychological Game and Post-Performance Emotions
How does he feel after a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed afterwards. Following Mayerling I'm always like: Wow, what must people think?"
In person, Ball is thoughtful, polite, 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 somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Early Drivers and Creative Influences
His tenacity originated in early setbacks. Not excelling in competitions at school made him "driven!" It was fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is making his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is compelling, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be filled with meaning, drawing ideas from books, music, and art.
Intimate Performance and Private Dynamic
He additionally favors staging dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple are not typically matched on stage at their main theater, which is perhaps healthy. "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 Perception
On Instagram, fans can see clips from his dance films and photos that highlight a athletic physique. Does he mind that the engagement can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball describes his early self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how reality is a separate reality to the aspirations you made as a young person," he reflects. He likely has another ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
