In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is effortlessly upright, his arms muscular beneath a simple white T-shirt. During performances, dancers can appear as powerful deities, yet often offstage they are petite. Not so Ball, whose height is one reason for his demand for princely characters and pas de deux work. Possessing delicate features and intense eyes, there's a hint of Robert Pattinson about him.
An Apparent Rise to the Top
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he encountered little ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was promoted annually, reaching the top rank of lead dancer in 2018. He has loved tackling meaty characters, particularly the psychological angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is as himself, in an "Evening With" event designed to offer behind-the-scenes insights into a performer's craft. He will guide the crowd through a part, demonstrating his mental workflow during execution. Even in more comedic works, the test is significant. "A classic ballet is one of the most demanding technically," he states.
The Psychological Game and Post-Performance Feelings
How does he feel following a show, when he has pulled it off? "It feels pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get immersed in the character, quite often I do feel embarrassed later. Following Mayerling I'm always like: God, what must people think?"
In person, Ball is reflective, mild-mannered, and prone to laugh at himself. But a dance maker previously remarked on a "kind of suffering in him." Is there? "I am very active usually, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Creative Inspirations
His tenacity originated in youthful experiences. Not excelling in competitions at school made him "driven!" This became fuel 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 remembers.
The next challenge is making his own choreography. For Ball, "there's nothing wrong with." "Challenging the conventions is interesting, but just pretending 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 ideas from books, music, and art.
Intimate Performance and Personal Partnership
He also favors staging dance in more intimate spaces. "It was just really exciting," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow lead dancer 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." They are not usually matched on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Perception
On social media, followers can see videos from his projects and images that highlight a sculpted form. Does he care that the engagement can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to viewing Michelangelo’s David—something that can be seen on various ways.
Ball characterizes his younger self as "desperate for success." Has it met his hopes? "I feel very aware of how life is a different thing to the dreams you made as a young person," he muses. He probably has another ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
