Within the hushed atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally upright, his arms defined beneath a simple white T-shirt. On stage, dancers can appear like mighty deities, yet often in person they are small. This is not true for Ball, whose height is one reason for his popularity for princely characters and pas de deux work. Possessing fine traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered little ridicule for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was advanced annually, attaining the top rank of principal in 2018. He has relished taking on substantial dramatic roles, particularly the psychological angst 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 role is as himself, in an "In Conversation" event aiming to offer intimate perspectives into a dancer's craft. He will walk the crowd through a part, demonstrating his cognitive workflow during execution. Yet in lighter ballets, the challenge is significant. "Don Quixote is one of the most demanding technically," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel after a show, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get immersed in the role, frequently I do feel self-conscious later. Following an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a dance maker previously observed on a "sense of suffering in him." Is there? "I am very active in general, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Early Drivers and Creative Influences
His determination originated in early setbacks. Not doing well in competitions at school made him "vengeful!" This became fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next challenge is making his own dance works. In his view, "organic movement has value." "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 meaning, drawing ideas from books, compositions, and art.
Close-Up Performance and Private Partnership
He additionally is interested in presenting dance in more intimate venues. "It was just really exciting," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t usually matched on stage at their home company, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Perception
On social media, followers can see videos from his dance films and photos that highlight a sculpted form. Does he care that the engagement can be a bit focused on appearance? 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 seeing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his younger self as "desperate for success." Did it met his expectations? "I am conscious of how reality is a different thing to the dreams you had as a young person," he reflects. He probably has about ten years of dancing left. "I guess in the future, I want to be a bit more kind with myself."
