Within the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally upright, his limbs muscular beneath a plain white T-shirt. On stage, dancers can seem as powerful gods, yet often offstage they are petite. This is not true for Ball, whose height is one reason for his popularity for heroic roles 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
At 31, Ball is experiencing the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered little ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was advanced annually, reaching the highest position of lead dancer in 2018. He has relished tackling substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring role is as himself, in an "Evening With" series aiming to offer intimate insights into a performer's art. He will guide the audience through a role, demonstrating his mental process while performance. Even in lighter ballets, the test is significant. "A classic ballet is one of the most demanding technically," he states.
The Mental Struggle and Post-Performance Feelings
What about following a performance, when he has succeeded? "It feels pretty good," he admits. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed afterwards. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker once observed on a "sense of suffering in him." Is there? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Motivations and Artistic Influences
Ball's tenacity stemmed from youthful experiences. Not excelling in contests at school made him "driven!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next challenge is making his own choreography. For Ball, "there's nothing wrong with." "Breaking 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 loaded with substance, drawing inspiration from literature, compositions, and art.
Intimate Dance and Personal Dynamic
He also is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t typically paired on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Image
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 a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—an object that can be interpreted on various ways.
Ball characterizes his early self as "desperate for success." Did it met his expectations? "I feel very aware of how life is a separate thing to the dreams you made as a child," he muses. He probably has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
