Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally straight-backed, his arms muscular beneath a plain white T-shirt. On stage, dancers can seem as mighty deities, yet frequently in person they are petite. This is not true for Ball, whose tall stature is one reason for his popularity for heroic characters and pas de deux work. Possessing delicate features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was promoted annually, attaining the top rank of principal in 2018. He has loved taking on meaty dramatic roles, particularly the emotional angst found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next featured role is as himself, in an "In Conversation" series designed to offer intimate perspectives into a performer's art. He will guide the crowd through a part, demonstrating his mental workflow while execution. Even in more comedic works, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Struggle and After the Show Feelings
How does he feel after a performance, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to squeeze all the emotion out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a choreographer previously remarked on a "sense of suffering in him." Is there? "I'm quite active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Motivations and Artistic Influences
Ball's tenacity stemmed from early experiences. Not excelling in competitions at school made him "vengeful!" It was motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
The next challenge is creating his own dance works. In his view, "there's nothing wrong with." "Breaking the rules 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 aims his work to be loaded with substance, drawing inspiration from books, compositions, and art.
Intimate Performance and Personal Dynamic
He additionally favors presenting dance in more intimate venues. "It was just really exciting," he says of a previous experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." They are not typically matched on stage at their main theater, 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 favorite supporter."
Regarding Instagram and Physical Perception
On social media, fans can see clips from his dance films and images that highlight a sculpted form. Does he mind that the response can be somewhat 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 seeing Michelangelo’s David—something that can be seen on multiple levels.
Ball describes his early self as "eager for success." Did it met his hopes? "I am conscious of how reality is a separate reality to the aspirations you had as a young person," he muses. He likely has another ten years of dancing left. "I guess in the time to come, I want to be a bit more gentle with myself."
