Within 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 defined beneath a simple tee. On stage, ballet dancers can appear like mighty gods, yet often in person they are small. Not so Ball, whose tall stature is one reason for his demand for heroic roles and pas de deux work. With delicate features and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Raised in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was advanced each year, attaining the highest position of principal in 2018. He has relished tackling substantial dramatic roles, especially the emotional turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next starring role is as himself, in an "Evening With" event designed to offer behind-the-scenes insights into a dancer's art. He will walk the audience through a part, demonstrating his mental workflow during execution. Even in lighter ballets, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Game and After the Show Feelings
What about following a performance, 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 embarrassed afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. Yet a dance maker previously remarked on a "kind 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 good change."
Formative Motivations and Artistic Inspirations
His tenacity originated in youthful setbacks. Not doing well in contests at school made him "driven!" This became fuel 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 creating his own dance works. For Ball, "there's nothing wrong with." "Breaking the rules is interesting, but just pretending 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 loaded with meaning, drawing inspiration from books, compositions, and painting.
Intimate Performance and Personal Partnership
He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a previous experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually matched 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. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On social media, followers can see clips from his projects and photos that highlight a sculpted form. Does he care that the engagement can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on various levels.
Ball describes his early self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how reality is a separate thing to the dreams you had as a young person," he reflects. He probably has another decade of dancing ahead. "I suppose in the future, I want to be a bit more kind with myself."
