In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is naturally upright, his arms defined beneath a simple white T-shirt. On stage, ballet dancers can appear like mighty deities, yet often offstage they are small. This is not true for Ball, whose height is one reason for his demand for heroic roles 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
At 31, Ball is experiencing the peak of a career that has progressed seamlessly. Raised in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted annually, reaching the top rank of lead dancer in 2018. He has relished tackling substantial dramatic roles, 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 next starring role is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a performer's art. He will guide the audience through a part, showing his cognitive process during performance. Yet in more comedic ballets, the test is significant. "Don Quixote is one of the most demanding technically," he notes.
The Mental Game and After the Show Feelings
How does he feel after a show, when he has succeeded? "It's pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed later. Following Mayerling I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once remarked 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 negativity has been an instigator for positive change."
Early Drivers and Artistic Influences
His determination stemmed from early experiences. Not doing well in contests at school made him "driven!" It was fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming endeavor is making his own choreography. For Ball, "organic movement has value." "Breaking the conventions is interesting, 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 meaning, drawing inspiration from literature, compositions, and art.
Close-Up Dance and Private Partnership
He also is interested in staging dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They aren’t typically matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But 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 showcase a athletic physique. Does he mind that the response can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be seen on various levels.
Ball characterizes his younger self as "eager for success." Has it met his expectations? "I feel very aware of how reality is a different thing to the dreams you made as a young person," he reflects. He likely has about decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
