Within the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is effortlessly upright, his arms defined beneath a simple white T-shirt. On stage, ballet dancers can appear as mighty deities, yet frequently offstage they are small. Not so Ball, whose tall stature is one reason for his demand for heroic characters and partnering. With delicate traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Top
Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced little ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was advanced annually, attaining the top rank of lead dancer in 2018. He has relished tackling meaty dramatic roles, particularly the psychological angst found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured appearance is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes insights into a performer's craft. He will guide the audience through a part, demonstrating his cognitive workflow during performance. Yet in lighter ballets, the test is significant. "A classic ballet is one of the most demanding technically," he states.
The Psychological Game and After the Show Feelings
What about after a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get lost in the character, frequently I do feel embarrassed later. Following Mayerling I'm always like: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Is there? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Drivers and Creative Influences
Ball's determination stemmed from early setbacks. Not excelling in competitions at school made him "driven!" This became motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is making his own dance works. In his view, "organic movement has value." "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 substance, drawing inspiration from literature, music, and painting.
Close-Up Dance and Private Dynamic
He additionally is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his partner, 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 resembled Dirty Dancing." The couple are not typically matched on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On social media, fans can see clips from his dance films and photos that highlight a sculpted physique. Does he mind that the engagement can be a bit objectifying? Not particularly. "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—something that can be interpreted on multiple ways.
Ball describes his younger self as "eager for success." Has it lived up to his hopes? "I feel very aware of how reality is a separate thing to the dreams you made as a child," he reflects. He likely has about ten years of dancing left. "I guess in the time to come, I want to be a bit more gentle with myself."
