In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is effortlessly straight-backed, his limbs muscular beneath a plain tee. On stage, ballet dancers can seem as powerful gods, yet often offstage they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and partnering. Possessing fine traits and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he faced little teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was advanced annually, attaining the highest position of lead dancer in 2018. He has loved tackling meaty characters, particularly the emotional angst found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured role is as himself, in an "In Conversation" event aiming to offer behind-the-scenes perspectives into a performer's art. He will walk the audience through a part, demonstrating his mental process while execution. Even in more comedic ballets, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Psychological Game and After the Show Emotions
What about after a show, when he has succeeded? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get immersed in the character, frequently 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 prone to laugh at himself. But a choreographer once remarked on a "sense of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Early Drivers and Creative Influences
Ball's determination stemmed from early experiences. Not doing well in competitions at school made him "vengeful!" This became fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next endeavor is creating his own dance works. In his view, "organic movement has value." "Challenging the conventions is interesting, but just acting 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 substance, drawing inspiration from literature, music, and art.
Close-Up Dance and Personal Partnership
He additionally is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The level of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." The couple aren’t usually matched on stage at their main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest cheerleader."
On Social Media and Physical Image
On social media, followers can see clips from his dance films and images that showcase a sculpted physique. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—an object that can be interpreted on multiple levels.
Ball characterizes his early self as "desperate for success." Has it met his hopes? "I am conscious of how reality is a separate reality to the dreams you made as a young person," he reflects. He probably has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
