In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his arms defined beneath a simple white T-shirt. On stage, ballet dancers can seem like mighty gods, yet frequently offstage they are petite. Not so Ball, whose height is one reason for 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.
An Apparent Ascent to the Pinnacle
At 31, Ball is enjoying the crest of a career that has progressed seamlessly. Raised in Liverpool, he encountered little teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated straight into the company and was promoted each year, attaining the highest position of lead dancer in 2018. He has loved tackling substantial characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring role is in a talk, in an "In Conversation" series designed to offer intimate insights into a dancer's art. He will walk the crowd through a part, showing his cognitive workflow during execution. Yet in more comedic works, the challenge is profound. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Game and After the Show Feelings
How does he feel following a performance, when he has succeeded? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel self-conscious later. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Drivers and Artistic Influences
Ball's tenacity stemmed from early experiences. Not excelling in contests at school made him "driven!" This became motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming endeavor is making his own choreography. In his view, "there's nothing wrong with." "Breaking the rules 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 aims his work to be loaded with meaning, drawing inspiration from books, compositions, and art.
Intimate Performance and Personal Partnership
He also favors staging dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They aren’t usually paired on stage at their home company, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Image
On Instagram, followers can see videos from his projects and photos that highlight a sculpted form. Does he care that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—an object that can be seen on multiple ways.
Ball describes his early self as "desperate for success." Has it met his hopes? "I am conscious of how reality is a different reality to the dreams you made as a child," he reflects. He likely has about decade of dancing left. "I guess in the time to come, I want to be a bit more gentle with myself."
