In the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his limbs muscular beneath a simple tee. During performances, dancers can seem like mighty gods, yet often in person they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic characters and partnering. Possessing fine traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the crest of a career that has advanced smoothly. Raised in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was promoted annually, attaining the highest position of principal in 2018. He has relished tackling meaty characters, particularly the emotional turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is in a talk, in an "In Conversation" event aiming to offer intimate insights into a dancer's art. He will walk the audience through a part, demonstrating his mental workflow during execution. Yet in lighter ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he notes.
The Mental Game and Post-Performance Feelings
What about following a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel self-conscious afterwards. Following Mayerling I'm always thinking: God, what must people think?"
Offstage, Ball is reflective, polite, and quick to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Motivations and Creative Influences
Ball's determination originated in youthful experiences. Not doing well in competitions at school made him "driven!" It was motivation to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming endeavor is creating his own choreography. In his view, "there's nothing wrong with." "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 aims his work to be filled with substance, drawing inspiration from books, compositions, and painting.
Intimate Dance and Personal Partnership
He also is interested in presenting dance in smaller venues. "It was just really thrilling," he says of a past show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They are not typically paired on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s favorite supporter."
On Social Media and Bodily Image
On social media, followers can see clips from his dance films and photos that highlight a athletic form. Does he mind that the response 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—something that can be seen on various ways.
Ball characterizes his early self as "eager for success." Did it lived up to his hopes? "I am conscious of how life is a different thing to the aspirations you had as a child," he reflects. He probably has another ten years of performing left. "I guess in the future, I want to be a bit more gentle with myself."
