Within the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his limbs muscular beneath a simple white T-shirt. On stage, ballet dancers can appear as mighty deities, yet frequently in person they are petite. Not so Ball, whose tall stature is one reason for his demand for heroic characters and pas de deux work. Possessing delicate features and intense eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal teasing for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was advanced each year, reaching the highest position of lead dancer in 2018. He has relished taking on meaty characters, especially the emotional angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next featured appearance is in a talk, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a performer's craft. He will guide the audience through a part, showing his mental process during execution. Yet in lighter ballets, the challenge is profound. "Don Quixote is one of the toughest from a skill perspective," he notes.
The Mental Game and After the Show Emotions
What about following a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed later. After 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 choreographer previously observed on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Artistic Inspirations
His tenacity originated in youthful experiences. Not doing well in competitions at school made him "driven!" This became motivation to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
The next challenge is making his own dance works. For Ball, "there's nothing wrong with." "Challenging the rules is compelling, 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 ideas from books, compositions, and painting.
Close-Up Dance and Private Dynamic
He additionally favors presenting dance in smaller spaces. "It was just really exciting," he says of a previous experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Image
On social media, fans can see clips from his projects and images that showcase a athletic form. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—something that can be interpreted on various levels.
Ball characterizes his younger self as "eager for success." Has it met his hopes? "I feel very aware of how life is a different reality to the dreams you had as a young person," he reflects. He probably has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
