Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly straight-backed, his arms muscular beneath a plain tee. During performances, dancers can appear like mighty deities, yet frequently in person they are petite. This is not true for Ball, whose tall stature is part of his demand 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 Rise to the Top
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved directly into the company and was advanced each year, attaining the top rank of lead dancer in 2018. He has relished taking on meaty characters, particularly the psychological turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured role is as himself, in an "In Conversation" series aiming to offer behind-the-scenes perspectives into a performer's art. He will guide the crowd through a role, demonstrating his cognitive workflow while execution. Even in lighter ballets, the test is profound. "Don Quixote is one of the most demanding technically," he states.
The Psychological Game and Post-Performance Emotions
How does he feel following a show, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to extract all the juice out of it, and get lost in the role, frequently I do feel self-conscious later. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. Yet a choreographer once observed on a "sense of suffering in him." Is there? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Early Motivations and Creative Inspirations
His tenacity originated in early experiences. Not doing well in competitions at school made him "driven!" This became fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming endeavor is making his own dance works. For Ball, "organic movement has value." "Breaking the rules is compelling, but just acting 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 loaded with substance, drawing inspiration from books, music, and painting.
Intimate Performance and Private Dynamic
He also favors presenting dance in smaller spaces. "It was just really thrilling," he says of a past experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It was like Dirty Dancing." They are not typically matched on stage at their home company, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his dance films and photos that highlight a athletic physique. Does he mind 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 states. He compares it to viewing Michelangelo’s David—something that can be interpreted on multiple ways.
Ball describes his early self as "eager for success." Did it met his expectations? "I am conscious of how reality is a different thing to the aspirations you made as a young person," he muses. He likely has about ten years of performing left. "I guess in the time to come, I want to be a bit more kind with myself."
