Within the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his limbs defined beneath a plain tee. During performances, dancers can appear like mighty deities, yet frequently offstage they are small. This is not true for Ball, whose height is one reason for his popularity for heroic characters and partnering. Possessing fine features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is enjoying the peak of a career that has progressed seamlessly. Raised in Liverpool, he encountered minimal teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was promoted each year, reaching the highest position of principal in 2018. He has relished tackling meaty dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is as himself, in an "In Conversation" event designed to offer intimate perspectives into a dancer's art. He will walk the audience through a role, showing his cognitive workflow while performance. Yet in more comedic works, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Struggle and After the Show Emotions
What about after a show, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the character, quite often I do feel self-conscious later. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker previously remarked on a "kind of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I kind of enjoy pessimism 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 competitions at school made him "driven!" It was motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he recalls.
An upcoming endeavor is making his own choreography. In his view, "there's nothing wrong with." "Breaking the conventions is interesting, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be loaded with meaning, drawing inspiration from books, music, and painting.
Intimate Dance and Private Dynamic
He also is interested in 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 thinking: 'That’s a person, and they’re perspiring.'"
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 daring lift. "It resembled Dirty Dancing." They are not typically 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 admits. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Physical Image
On Instagram, followers can see clips from his dance films and photos that showcase a sculpted physique. Does he care that the engagement can be somewhat objectifying? Not really. "The body is just what we work with, so I don’t feel very precious about it," he explains. He relates it to viewing Michelangelo’s David—something that can be seen on various ways.
Ball describes his early self as "eager for success." Has it lived up to his hopes? "I feel very aware of how reality is a separate thing to the aspirations you made as a child," he reflects. He probably has about ten years of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
