Within the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his limbs defined beneath a simple white T-shirt. On stage, dancers can appear as powerful gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is part of his demand for heroic roles and pas de deux work. Possessing fine features and piercing eyes, there's a hint of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was advanced annually, reaching the top rank of lead dancer in 2018. He has relished tackling meaty dramatic roles, especially the psychological angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured appearance is as himself, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a performer's art. He will guide the crowd through a role, showing his cognitive workflow while performance. Even in more comedic ballets, the challenge is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.
The Psychological Struggle and Post-Performance Feelings
What about following a performance, when he has pulled it off? "It's 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 an intense role I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a dance maker previously observed on a "kind of suffering in him." Does this exist? "I am very energetic usually, 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 positive change."
Early Drivers and Artistic Influences
His tenacity stemmed from early setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is making his own dance works. For Ball, "there's nothing wrong with." "Challenging the rules is compelling, but just pretending 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 loaded with meaning, drawing inspiration from books, music, and painting.
Close-Up Performance and Personal Partnership
He additionally is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The level of faith 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 usually matched on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On Instagram, followers can see clips from his dance films and images that showcase a athletic form. Does he care that the engagement can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
Ball describes his early self as "desperate for success." Did it lived up to his hopes? "I am conscious of how reality is a separate reality to the dreams you made as a child," he reflects. He likely has another decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
