In the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. On stage, dancers can seem as powerful deities, yet often in person they are small. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. With fine features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has advanced smoothly. Growing up in Liverpool, he faced little ridicule for his early passion in ballet. Entering the esteemed training institution at 11, he moved directly into the troupe and was advanced annually, attaining the top rank of lead dancer in 2018. He has loved taking on substantial 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."
Ball's next starring appearance is in a talk, in an "In Conversation" event aiming to offer intimate perspectives into a dancer's craft. He will walk the crowd through a part, showing his mental workflow during execution. Even in lighter ballets, the test is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Struggle and Post-Performance Emotions
What about following a show, when he has pulled it off? "It feels pretty good," he admits. "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 afterwards. Following Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a dance maker once remarked on a "kind of suffering in him." Is there? "I'm quite active in general, 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."
Early Drivers and Creative Inspirations
His determination stemmed from early experiences. Not excelling in contests at school made him "driven!" This became fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
An upcoming endeavor is making his own dance works. In his view, "there's nothing wrong with." "Breaking the conventions 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 filled with meaning, drawing ideas from literature, compositions, and painting.
Close-Up Performance and Personal Dynamic
He additionally is interested in staging dance in smaller spaces. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple 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 hunky dory," he notes. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Image
On Instagram, fans can see videos from his projects and images that highlight a athletic physique. Does he mind that the response can be a bit focused on appearance? Not really. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—something that can be interpreted on various ways.
Ball characterizes his early self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how reality is a different thing to the aspirations you had as a child," he reflects. He probably has about decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
