Within the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can appear like mighty gods, yet often in person they are small. This is not true for Ball, whose height is one reason for his demand for princely characters and pas de deux work. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Top
Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he encountered minimal ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was promoted annually, reaching the highest position of lead dancer in 2018. He has loved taking on substantial characters, particularly the psychological angst found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is in a talk, in an "In Conversation" event aiming to offer intimate insights into a dancer's art. He will walk the crowd through a role, demonstrating his cognitive workflow during execution. Even in lighter ballets, the test is profound. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Game and After the Show Feelings
What about after a show, when he has pulled it off? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get lost in the role, frequently I do feel embarrassed later. Following Mayerling I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, polite, and prone to laugh at himself. But a dance maker once observed on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Artistic Inspirations
His tenacity originated in youthful experiences. Not excelling in contests at school made him "vengeful!" 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 obsessive," he recalls.
An upcoming challenge is making his own dance works. For Ball, "there's nothing wrong with." "Breaking the rules is interesting, but just pretending 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 inspiration from literature, music, and painting.
Intimate Dance and Private Partnership
He additionally favors presenting dance in smaller spaces. "It was just really exciting," he says of a previous experience. "You’re so close 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 lead dancer Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually paired on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, followers can see clips from his projects and photos that showcase a sculpted form. Does he care that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his younger self as "desperate for success." Did it met his hopes? "I am conscious of how life is a different reality to the aspirations you had as a young person," he muses. He likely has about decade of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
