In the hushed ambiance 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 plain tee. On stage, ballet dancers can appear as mighty gods, yet often in person they are petite. Not so Ball, whose tall stature is part of his popularity for heroic characters and partnering. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Top
Now 31, Ball is experiencing the crest of a career that has progressed smoothly. Raised in Liverpool, he encountered minimal ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was advanced annually, reaching the top rank of lead dancer in 2018. He has loved taking on meaty characters, particularly the psychological 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 featured role is as himself, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a part, showing his cognitive process during performance. Yet in lighter ballets, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Game and After the Show Feelings
How does he feel following a show, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to squeeze 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: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Drivers and Creative Influences
His tenacity originated in youthful experiences. Not excelling in competitions at school made him "driven!" This became fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own choreography. In his view, "there's nothing wrong with." "Challenging 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 filled with meaning, drawing inspiration from literature, music, and painting.
Intimate Performance and Private Dynamic
He additionally is interested in staging dance in more intimate 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 realizing: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a audacious 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 hunky dory," he notes. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Perception
On social media, fans can see clips from his projects and photos that highlight a athletic physique. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be seen on multiple levels.
Ball characterizes his early self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how life is a separate reality to the aspirations you made as a young person," he muses. He probably has about ten years of performing ahead. "I suppose in the future, I want to be a bit more gentle with myself."
