In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is effortlessly upright, his limbs muscular beneath a simple white T-shirt. On stage, dancers can appear like mighty gods, yet frequently offstage they are small. Not so Ball, whose height is one reason for his demand for princely roles and partnering. Possessing delicate traits and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Top
Now 31, Ball is experiencing the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was promoted each year, reaching the highest position of lead dancer in 2018. He has relished tackling substantial dramatic roles, particularly the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring role is as himself, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a dancer's art. He will walk the crowd through a part, demonstrating his cognitive process while performance. Even in more comedic works, the test is profound. "A classic ballet is one of the toughest technically," he states.
The Psychological Game and Post-Performance Feelings
What about after a show, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel embarrassed later. After Mayerling I'm always like: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Motivations and Artistic Influences
Ball's tenacity originated in early experiences. Not doing well in contests at school made him "vengeful!" It was fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next endeavor is making 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 aims his work to be loaded with substance, drawing ideas from literature, music, and art.
Intimate Dance and Private Dynamic
He also is interested in staging dance in more intimate venues. "It was just really exciting," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Perception
On Instagram, followers can see videos from his dance films and images that showcase a sculpted physique. Does he care that the response can be somewhat focused on appearance? 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 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 muses. He probably has about ten years of dancing ahead. "I guess in the time to come, I want to be a bit more kind with myself."
