In the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally straight-backed, his arms muscular beneath a plain white T-shirt. During performances, ballet dancers can seem like mighty gods, yet frequently offstage they are petite. This is not true for Ball, whose height is part of his popularity for heroic characters and partnering. With delicate traits and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is enjoying the peak of a career that has advanced smoothly. Raised in Liverpool, he faced minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he graduated straight into the company and was advanced annually, reaching the highest position of principal in 2018. He has loved tackling meaty dramatic roles, especially the psychological turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next starring appearance is in a talk, in an "In Conversation" event designed to offer behind-the-scenes insights into a dancer's craft. He will guide the crowd through a role, showing his cognitive workflow during performance. Yet in more comedic ballets, the challenge is significant. "A classic ballet is one of the toughest technically," he states.
The Psychological Game and After the Show Emotions
How does he feel after a performance, 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 afterwards. Following an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. Yet a dance maker once remarked on a "sense of suffering in him." Is there? "I'm quite energetic in general, but I do have a dark side," he reveals. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Formative Motivations and Creative Influences
Ball's tenacity stemmed from youthful experiences. Not excelling in competitions at school made him "vengeful!" This became 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 obsessive," he recalls.
An upcoming endeavor is making his own dance works. In his view, "there's nothing wrong with." "Challenging the rules is compelling, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be filled with substance, drawing inspiration from books, music, and art.
Close-Up Performance and Private Dynamic
He also favors presenting dance in smaller venues. "It was just really exciting," he says of a past show. "You’re so close to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Perception
On Instagram, followers can see videos from his dance films and photos that showcase a sculpted physique. Does he care that the response can be a bit focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his younger self as "eager for success." Has it lived up to his hopes? "I am conscious of how life is a separate reality to the aspirations you had as a young person," he muses. He likely has another decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
