Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his arms defined beneath a plain white T-shirt. On stage, dancers can seem as mighty gods, yet often offstage they are petite. Not so Ball, whose tall stature is part of his popularity for princely characters and pas de deux work. With delicate features and piercing eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced little ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was promoted annually, attaining the highest position of principal in 2018. He has relished taking on meaty characters, particularly the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next featured appearance is as himself, in an "In Conversation" series aiming to offer intimate perspectives into a dancer's art. He will guide the crowd through a role, showing his mental workflow during execution. Even in more comedic works, the challenge is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.
The Mental Struggle and Post-Performance Feelings
How does he feel following a show, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, frequently I do feel self-conscious afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer previously remarked on a "kind of suffering in him." Is there? "I'm quite energetic usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Formative Drivers and Creative Influences
His determination stemmed from youthful experiences. Not excelling in contests at school made him "vengeful!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Breaking 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 wants his work to be loaded with meaning, drawing inspiration from literature, compositions, and painting.
Close-Up Dance and Personal Partnership
He also is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a previous show. "You’re so close to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not typically matched on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But 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 form. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—something that can be interpreted on various ways.
Ball characterizes his early self as "eager for success." Did it met his expectations? "I feel very aware of how life is a separate thing to the dreams you had as a young person," he muses. He likely has about ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
