In the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is naturally straight-backed, his arms defined beneath a plain white T-shirt. On stage, dancers can appear as mighty deities, yet often in person they are petite. This is not true for Ball, whose height is one reason for his popularity for princely characters and partnering. With fine features and intense eyes, there's a hint 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 seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early passion in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was promoted annually, attaining the top rank of principal in 2018. He has relished tackling meaty characters, particularly the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured role is as himself, in an "In Conversation" event designed to offer behind-the-scenes insights into a dancer's art. He will walk the crowd through a role, demonstrating his cognitive workflow while performance. Yet in more comedic works, the test is significant. "Don Quixote is one of the toughest technically," he states.
The Mental Struggle and After the Show Emotions
How does he feel after a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, frequently I do feel self-conscious afterwards. Following an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a choreographer once observed on a "kind of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Formative Motivations and Artistic Inspirations
Ball's tenacity originated in 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 remembers.
An upcoming endeavor is creating his own choreography. In his view, "organic movement has value." "Challenging the conventions 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 wants his work to be loaded with substance, drawing ideas from literature, compositions, and painting.
Close-Up Performance and Personal Dynamic
He additionally is interested in presenting dance in more intimate spaces. "It was just really thrilling," he says of a previous show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t usually paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Bodily Perception
On social media, fans can see clips from his projects and images that showcase a sculpted physique. Does he care that the response can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be seen on multiple ways.
Ball characterizes his early self as "eager for success." Did it lived up to his expectations? "I feel very aware of how reality is a different reality to the aspirations you made as a child," he muses. He likely has another decade of performing left. "I suppose in the future, I want to be a bit more kind with myself."
