Within the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is effortlessly upright, his limbs muscular beneath a plain white T-shirt. On stage, ballet dancers can seem like mighty gods, yet frequently offstage they are small. This is not true for Ball, whose height is one reason for his popularity for heroic roles and partnering. With delicate traits and intense eyes, there's a touch of Robert Pattinson about him.
A Seamless Rise to the Pinnacle
Now 31, Ball is experiencing the crest of a career that has advanced seamlessly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was advanced annually, attaining the top rank of lead dancer in 2018. He has loved tackling meaty dramatic roles, especially the emotional turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" event designed to offer intimate perspectives into a performer's art. He will walk the audience through a part, demonstrating his mental workflow during performance. Even in lighter ballets, the test is significant. "A classic ballet 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 feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel self-conscious later. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer once remarked on a "kind of suffering in him." Does this exist? "I'm quite active usually, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an catalyst for positive change."
Formative Drivers and Artistic Inspirations
Ball's determination stemmed from youthful experiences. Not excelling in competitions at school made him "driven!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming endeavor is making 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 loaded with substance, drawing inspiration from books, music, and art.
Intimate Dance and Personal Dynamic
He also favors presenting dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his partner, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their home company, 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 biggest cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his dance films and images that highlight a sculpted physique. Does he mind that the engagement can be a bit objectifying? Not really. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his early self as "eager for success." Did it lived up to his expectations? "I am conscious of how reality is a separate thing to the aspirations you had as a young person," he muses. He probably has about decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
