In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his limbs muscular beneath a simple white T-shirt. On stage, dancers can appear like powerful gods, yet frequently offstage they are small. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. Possessing delicate features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is enjoying the peak of a career that has progressed seamlessly. Raised in Liverpool, he faced minimal ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted annually, attaining the highest position of lead dancer in 2018. He has relished taking on meaty dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His next starring role is as himself, in an "Evening With" event designed to offer behind-the-scenes perspectives into a performer's art. He will guide the crowd through a part, showing his mental workflow while performance. Even in more comedic works, the challenge is significant. "Don Quixote is one of the most demanding technically," he notes.
The Mental Game and Post-Performance Emotions
What about following a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get lost in the role, quite often I do feel embarrassed later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Is there? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."
Formative Drivers and Creative Inspirations
Ball's determination stemmed from youthful experiences. Not excelling in competitions at school made him "vengeful!" This became motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is creating his own choreography. In his view, "there's nothing wrong with." "Challenging the rules 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 aims his work to be loaded with substance, drawing ideas from books, compositions, and painting.
Close-Up Performance and Personal Dynamic
He additionally is interested in staging dance in smaller venues. "It was just really thrilling," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually 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 admits. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Bodily Image
On social media, fans can see videos from his dance films and images that showcase a sculpted form. Does he mind that the engagement can be somewhat focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—an object that can be seen on multiple ways.
Ball describes his younger self as "desperate for success." Has it lived up to his hopes? "I am conscious of how life is a separate reality to the aspirations you made as a young person," he reflects. He likely has about decade of performing left. "I guess in the time to come, I want to be a bit more gentle with myself."
