In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his arms defined beneath a plain white T-shirt. During performances, ballet dancers can seem like mighty gods, yet frequently offstage they are petite. Not so Ball, whose height is part of his demand for princely roles and pas de deux work. Possessing fine traits and intense eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is enjoying the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced little ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was advanced annually, attaining the top rank of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring role is as himself, in an "In Conversation" event designed to offer behind-the-scenes insights into a dancer's art. He will guide the audience through a role, showing his cognitive process during performance. Even in lighter works, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Mental Struggle and Post-Performance Feelings
How does he feel after a show, when he has pulled it off? "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 later. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a dance maker once observed on a "sense of suffering in him." Is there? "I'm quite active in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Creative Inspirations
Ball's determination originated in youthful setbacks. Not doing well in competitions at school made him "vengeful!" This became fuel to prove he could achieve. 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 creating his own dance works. In his view, "organic movement has value." "Breaking the conventions is interesting, 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 ideas from books, music, and art.
Intimate Performance and Private Partnership
He also 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 viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The level of faith 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 usually paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Image
On social media, followers can see clips from his dance films and images that showcase a athletic physique. Does he care that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball describes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how life is a separate thing to the dreams you made as a child," he reflects. He probably has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
