In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally upright, his limbs muscular beneath a plain white T-shirt. During performances, dancers can seem as powerful deities, yet frequently in person they are petite. Not so Ball, whose height is part of his popularity for heroic characters and pas de deux work. Possessing fine traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Ascent to the Top
At 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he faced minimal teasing for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was advanced each year, attaining the top rank of lead dancer in 2018. He has relished tackling meaty characters, especially the emotional turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is in a talk, in an "In Conversation" event aiming to offer intimate perspectives into a dancer's craft. He will guide the audience through a part, showing his cognitive process during execution. Yet in lighter ballets, the test is significant. "Don Quixote is one of the toughest technically," he notes.
The Psychological Struggle and After the Show Emotions
How does he feel following a performance, when he has succeeded? "It's pretty good," he says. "But because I'm trying to extract all the juice out of it, and get lost in the character, frequently I do feel embarrassed afterwards. After Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Is there? "I'm quite energetic usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Drivers and Artistic Inspirations
His tenacity originated in youthful setbacks. Not doing well in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming endeavor is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is interesting, but just pretending 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 ideas from books, music, and art.
Close-Up Dance and Private Dynamic
He also favors presenting dance in smaller 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 human, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, fans can see clips from his dance films and images that highlight a sculpted form. Does he mind that the engagement can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to seeing Michelangelo’s David—something that can be seen on multiple ways.
Ball describes his early self as "desperate for success." Has it lived up to his expectations? "I am conscious of how reality is a different reality to the dreams you had as a child," he muses. He probably has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
