Within the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is effortlessly straight-backed, his arms muscular beneath a simple white T-shirt. During performances, dancers can appear like powerful gods, yet frequently in person they are small. Not so Ball, whose tall stature is one reason for his demand for heroic roles and pas de deux work. With fine features and piercing eyes, there's a touch of Robert Pattinson 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 little ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted each year, attaining the highest position of lead dancer in 2018. He has relished tackling meaty characters, especially 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 next featured appearance is as himself, in an "In Conversation" series aiming to offer intimate insights into a dancer's craft. He will guide the audience through a part, demonstrating his cognitive process while performance. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Game and After the Show Emotions
How does he feel after a performance, 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 role, quite often I do feel self-conscious later. After an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."
Early Drivers and Artistic Influences
His tenacity originated in early setbacks. Not excelling in contests at school made him "vengeful!" This became fuel to prove 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.
The next challenge is creating his own choreography. For Ball, "organic movement has value." "Challenging the conventions is compelling, but just acting that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be loaded with meaning, drawing inspiration from books, compositions, and art.
Close-Up Dance and Private Partnership
He additionally favors presenting dance in smaller spaces. "It was just really thrilling," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They aren’t typically paired on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," 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 videos from his projects and images that showcase a sculpted form. Does he mind that the engagement can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to viewing Michelangelo’s David—something that can be interpreted on multiple ways.
Ball characterizes his younger self as "eager for success." Did it met his hopes? "I feel very aware of how reality is a different thing to the dreams you made as a young person," he reflects. He likely has another ten years of dancing left. "I suppose in the future, I want to be a bit more kind with myself."
