In the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is naturally upright, his limbs muscular beneath a simple white T-shirt. During performances, ballet dancers can appear as mighty deities, yet frequently in person they are petite. This is not true for Ball, whose height is one reason for his popularity for princely roles and partnering. Possessing fine traits and piercing eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was advanced annually, reaching the top rank of lead dancer in 2018. He has relished taking on substantial dramatic roles, particularly the emotional angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming starring appearance is in a talk, in an "Evening With" series designed to offer behind-the-scenes perspectives into a performer's craft. He will walk the audience through a role, demonstrating his cognitive process during execution. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel after a performance, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the emotion out of it, and get immersed in the character, quite often I do feel self-conscious afterwards. Following an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a melancholy streak," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an instigator for good change."
Formative Motivations and Artistic Influences
His tenacity stemmed from early experiences. Not excelling in contests at school made him "vengeful!" It was motivation to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming endeavor is creating his own dance works. In his view, "organic movement has value." "Breaking the conventions is compelling, 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 inspiration from literature, compositions, and painting.
Close-Up Performance and Personal Partnership
He also is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The level of trust 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 paired on stage at their home company, which is perhaps beneficial. "We’re both quite determined 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 Bodily Perception
On Instagram, followers can see clips from his dance films and photos that highlight a athletic form. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his early self as "eager for success." Did it lived up to his expectations? "I am conscious of how life is a different thing to the aspirations you had as a young person," he reflects. He probably has another decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
