In the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can appear like mighty gods, yet often in person they are petite. This is not true for Ball, whose tall stature is one reason for his demand for heroic characters and pas de deux work. Possessing delicate traits and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Entering the esteemed training institution at 11, he graduated straight into the troupe and was advanced each year, attaining the highest position of principal in 2018. He has loved tackling meaty characters, especially the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring role is as himself, in an "Evening With" series aiming to offer behind-the-scenes insights into a dancer's craft. He will guide the crowd through a role, demonstrating his mental process during execution. Yet in lighter works, the test is significant. "A classic ballet is one of the most demanding technically," he states.
The Mental Struggle and Post-Performance Feelings
What about following a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get lost in the role, quite often I do feel self-conscious afterwards. After Mayerling I'm always like: God, what must people think?"
Offstage, Ball is reflective, polite, and prone to laugh at himself. Yet a dance maker once remarked on a "kind of suffering in him." Is there? "I'm quite energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Drivers and Creative Inspirations
Ball's tenacity originated in early experiences. Not excelling in contests at school made him "driven!" It was fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is compelling, but just acting 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 ideas from literature, compositions, and painting.
Intimate Dance and Private Partnership
He also is interested in presenting dance in more intimate venues. "It was just really exciting," he says of a past experience. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t typically paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Bodily Image
On Instagram, followers can see videos from his projects and photos that highlight a athletic physique. Does he care that the engagement 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 relates it to seeing Michelangelo’s David—an object that can be seen on multiple levels.
Ball describes his early self as "desperate for success." Has it met his hopes? "I am conscious of how reality is a separate thing to the aspirations you had as a child," he reflects. He likely has about ten years of dancing ahead. "I suppose in the future, I want to be a bit more gentle with myself."