In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his limbs muscular beneath a simple tee. During performances, dancers can seem as powerful gods, yet often offstage they are petite. Not so Ball, whose tall stature is part of his popularity for princely characters and pas de deux work. Possessing delicate features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is enjoying the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was promoted each year, attaining the top rank of lead dancer in 2018. He has relished taking on meaty dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is as himself, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a dancer's craft. He will walk the crowd through a role, showing his mental workflow during performance. Even in more comedic works, the challenge is significant. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Psychological Struggle and Post-Performance Feelings
How does he feel following a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the character, frequently I do feel self-conscious later. Following an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer once remarked on a "kind of suffering in him." Is there? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Formative Motivations and Artistic Inspirations
Ball's tenacity originated in youthful setbacks. Not doing well in competitions at school made him "vengeful!" It was 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 recalls.
An upcoming challenge is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions 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 wants his work to be loaded with meaning, drawing ideas from books, music, and art.
Intimate Performance and Private Dynamic
He also is interested in 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 sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually matched on stage at their main theater, which is perhaps beneficial. "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 supporter."
On Social Media and Physical Perception
On social media, followers can see clips from his projects and photos that highlight a athletic form. Does he mind that the engagement can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball characterizes his younger self as "eager for success." Did it met his expectations? "I feel very aware of how reality is a separate reality to the dreams you had as a child," he reflects. He likely has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
