Within 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 arms defined beneath a simple tee. On stage, dancers can seem like mighty deities, yet frequently offstage they are petite. Not so Ball, whose tall stature is part of his popularity for heroic roles and partnering. Possessing delicate traits and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Top
At 31, Ball is experiencing the peak of a career that has progressed smoothly. Raised in Liverpool, he faced little teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was promoted annually, attaining the top rank of principal in 2018. He has loved taking on substantial dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His next starring appearance is in a talk, in an "In Conversation" series designed to offer intimate insights into a performer's craft. He will walk the audience through a role, demonstrating his cognitive workflow during performance. Yet in lighter 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 following a show, when he has succeeded? "It's pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get lost in the role, quite often I do feel self-conscious later. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Is there? "I'm quite active in general, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Formative Motivations and Artistic Influences
Ball's tenacity stemmed from youthful experiences. Not excelling in contests 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 changed everything, it made me go a bit fanatical," he recalls.
The next challenge is making his own choreography. In his view, "there's nothing wrong with." "Breaking the rules is compelling, but just acting that they’re not a reality any more – I don’t know how far you can go with that." He wants his work to be filled with substance, drawing ideas from books, music, and art.
Intimate Performance and Personal Dynamic
He additionally is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a previous experience. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of trust between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They aren’t typically matched on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Perception
On Instagram, followers can see clips from his dance films and images that highlight a sculpted physique. Does he mind that the response can be a bit objectifying? Not really. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball describes his early self as "desperate for success." Did it lived up to his expectations? "I am conscious of how life is a separate reality to the aspirations you made as a child," he muses. He probably has about ten years of dancing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
