Within the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his arms muscular beneath a simple white T-shirt. On stage, dancers can seem as powerful gods, yet frequently in person they are petite. This is not true for Ball, whose tall stature is part of his popularity for heroic characters and pas de deux work. Possessing delicate features and intense eyes, there's a touch of Robert Pattinson about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced little teasing for his childhood passion in ballet. Entering the esteemed training institution at 11, he moved straight into the company and was promoted annually, attaining the highest position of principal 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 next starring appearance is in a talk, in an "In Conversation" series aiming to offer intimate perspectives into a performer's art. He will walk the audience through a part, showing his cognitive process while performance. Even in lighter works, the challenge is significant. "A classic ballet is one of the toughest technically," he notes.
The Psychological Game and After the Show Emotions
How does he feel following a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get lost in the character, frequently I do feel embarrassed afterwards. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer once observed on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Motivations and Creative Inspirations
Ball's determination originated in youthful setbacks. Not doing well in competitions at school made him "driven!" It was 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 recalls.
An upcoming endeavor is creating his own choreography. In his view, "there's nothing wrong with." "Breaking the rules 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 aims his work to be loaded with substance, drawing inspiration from literature, compositions, and art.
Intimate Performance and Private Dynamic
He additionally is interested in staging dance in more intimate 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 realizing: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t usually matched on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest cheerleader."
On Social Media and Bodily Perception
On social media, fans can see clips from his projects and photos that showcase a sculpted physique. Does he care that the response can be a bit 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 seeing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his early self as "desperate for success." Did it met his expectations? "I feel very aware of how life is a different thing to the aspirations you made as a young person," he reflects. He probably has another ten years of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
