In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally straight-backed, his arms defined beneath a plain white T-shirt. During performances, dancers can seem as powerful gods, yet frequently offstage they are small. Not so Ball, whose height is one reason for his demand for heroic characters and pas de deux work. Possessing fine features and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Top
At 31, Ball is enjoying the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was advanced annually, attaining the highest position of lead dancer in 2018. He has relished tackling substantial dramatic roles, particularly the psychological angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next starring appearance is in a talk, in an "Evening With" event aiming to offer intimate perspectives into a performer's art. He will walk the crowd through a part, showing his mental workflow while execution. Yet in more comedic ballets, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.
The Mental Game and Post-Performance Feelings
What about following a performance, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to extract all the juice out of it, and get lost in the role, quite often I do feel self-conscious afterwards. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a dance maker once remarked on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for positive change."
Early Drivers and Creative Influences
His tenacity stemmed from youthful experiences. Not doing well in competitions at school made him "driven!" It was motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is compelling, 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 filled with substance, drawing inspiration from literature, compositions, and art.
Close-Up Performance and Private Dynamic
He also is interested in presenting dance in more intimate spaces. "It was just really exciting," he says of a past show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The level 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 are not usually paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Physical Image
On social media, followers can see videos from his projects and images that showcase a sculpted physique. Does he care that the engagement can be a bit 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—an object that can be seen on various ways.
Ball characterizes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a separate reality to the dreams you made as a child," he reflects. He likely has another decade of performing left. "I guess in the future, I want to be a bit more kind with myself."
