In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally upright, his arms defined beneath a simple tee. On stage, ballet dancers can appear like powerful gods, yet often in person they are petite. This is not true for Ball, whose tall stature is part of his demand for princely roles and pas de deux work. With delicate features and intense eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was promoted annually, attaining the top rank of principal in 2018. He has relished tackling substantial dramatic roles, especially the emotional turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured role is in a talk, 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 mental process while performance. Even in lighter works, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Struggle and After the Show Feelings
What about following a performance, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, quite often I do feel self-conscious later. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Is there? "I am very energetic usually, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Motivations and Creative Inspirations
His tenacity stemmed from youthful experiences. Not excelling in contests at school made him "vengeful!" It was motivation 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 obsessive," he recalls.
The next challenge is creating his own choreography. For Ball, "organic movement has value." "Breaking 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 filled with substance, drawing ideas from literature, music, and painting.
Close-Up Dance and Private Dynamic
He additionally favors presenting dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made duets with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," 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 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 biggest supporter."
On Social Media and Bodily Image
On social media, followers can see videos from his projects and photos that highlight a sculpted physique. Does he mind that the engagement can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball describes his younger self as "eager for success." Did it met his hopes? "I am conscious of how reality is a different thing to the aspirations you made as a child," he muses. He probably has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
