In the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his limbs defined beneath a simple white T-shirt. During performances, dancers can appear like powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is part of his popularity for princely roles and partnering. With delicate features and intense eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Top
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered little teasing for his early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was advanced annually, attaining the top rank of lead dancer in 2018. He has relished tackling substantial dramatic roles, particularly the psychological angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next starring role is in a talk, in an "In Conversation" series aiming to offer intimate perspectives into a performer's art. He will walk the audience through a part, demonstrating his cognitive process during performance. Yet in lighter works, the test is profound. "Don Quixote is one of the toughest technically," he states.
The Mental Game and Post-Performance Feelings
How does he feel following a show, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel embarrassed later. Following an intense role I'm always like: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Drivers and Artistic Inspirations
His determination originated in youthful experiences. Not doing well in contests at school made him "driven!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own dance works. In his view, "organic movement has value." "Challenging the conventions is compelling, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He aims his work to be loaded with substance, drawing inspiration from literature, music, and painting.
Intimate Dance and Private Dynamic
He additionally favors staging dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t usually matched on stage at their home company, 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 supporter."
On Social Media and Physical Image
On social media, fans can see videos from his projects and photos that showcase a sculpted physique. Does he care that the response can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—something that can be seen on various ways.
Ball describes his early self as "desperate for success." Did it lived up to his expectations? "I feel very aware of how reality is a separate thing to the aspirations you had as a young person," he reflects. He probably has about ten years of dancing left. "I guess in the time to come, I want to be a bit more gentle with myself."
