Within the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly straight-backed, his arms muscular beneath a simple tee. During performances, dancers can seem like powerful deities, yet often in person they are small. This is not true for Ball, whose tall stature is part of his popularity for princely roles and partnering. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has progressed smoothly. Raised in Liverpool, he faced minimal ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved straight into the company and was advanced each year, reaching the highest position of lead dancer in 2018. He has relished taking on meaty dramatic roles, particularly the emotional turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's craft. He will guide the audience through a part, demonstrating his mental workflow while execution. Even in lighter works, the challenge is profound. "A classic ballet is one of the toughest technically," he states.
The Psychological Struggle and Post-Performance Emotions
What about after a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the character, frequently I do feel self-conscious afterwards. After Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker previously remarked 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 negativity has been an catalyst for positive change."
Formative Motivations and Creative Influences
Ball's determination stemmed from youthful setbacks. Not doing well in contests at school made him "vengeful!" This became fuel to demonstrate he could achieve. 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 endeavor is making his own choreography. For Ball, "there's nothing wrong with." "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 filled with meaning, drawing inspiration from literature, compositions, and painting.
Intimate Performance and Private Dynamic
He additionally is interested in staging dance in more intimate venues. "It was just really exciting," he says of a past show. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Image
On Instagram, followers can see clips from his projects and photos that highlight a athletic form. Does he mind that the response can be a bit focused on appearance? 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 viewing Michelangelo’s David—an object that can be seen on multiple levels.
Ball describes his younger self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how life is a separate thing to the aspirations you had as a child," he reflects. He likely has about ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."