Within the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly straight-backed, his arms defined beneath a simple white T-shirt. On stage, ballet dancers can appear like powerful gods, yet frequently in person they are small. Not so Ball, whose height is part of his demand for princely characters and pas de deux work. Possessing delicate traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Top
Now 31, Ball is experiencing the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced minimal teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was advanced each year, attaining the highest position of lead dancer in 2018. He has relished taking on substantial characters, particularly the emotional turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is in a talk, in an "In Conversation" series aiming to offer intimate perspectives into a performer's craft. He will walk the audience through a role, showing his cognitive workflow during execution. Yet in more comedic works, the challenge is significant. "Don Quixote is one of the toughest technically," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel following a show, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get lost in the role, frequently I do feel self-conscious afterwards. After an intense role I'm always like: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously observed on a "kind of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Motivations and Artistic Inspirations
His tenacity stemmed from early setbacks. Not doing well in competitions at school made him "vengeful!" 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 obsessive," he recalls.
The next challenge is making his own choreography. In his view, "organic movement has value." "Challenging the rules is compelling, 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 filled with substance, drawing ideas from literature, music, and painting.
Close-Up Performance and Personal Dynamic
He also favors staging dance in smaller venues. "It was just really exciting," he says of a past 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 made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t typically matched on stage at their main theater, which might be 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 Physical Perception
On Instagram, followers can see clips from his projects and photos that showcase a athletic physique. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his early self as "eager for success." Did it met his hopes? "I feel very aware of how life is a separate reality to the dreams you made as a child," he muses. He probably has about ten years of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
