In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is naturally upright, his arms defined beneath a plain white T-shirt. During performances, dancers can seem as mighty deities, yet frequently in person they are petite. Not so Ball, whose tall stature is part of his demand for heroic characters and pas de deux work. With delicate features and piercing eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Top
At 31, Ball is enjoying the crest of a career that has progressed smoothly. Growing up in Liverpool, he faced minimal ridicule for his early passion in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was advanced annually, reaching the top rank of principal in 2018. He has loved tackling meaty characters, particularly the psychological turmoil found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured role is in a talk, in an "In Conversation" event designed to offer intimate insights into a performer's art. He will guide the crowd through a role, showing his cognitive process during execution. Even in lighter works, the challenge is significant. "A classic ballet is one of the most demanding technically," he states.
The Psychological Game and Post-Performance Feelings
How does he feel following a performance, when he has pulled it off? "It's pretty good," he admits. "But because I'm trying to extract all the emotion out of it, and get lost in the character, frequently I do feel self-conscious afterwards. Following an intense role I'm always like: God, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a choreographer previously observed on a "kind of suffering in him." Does this exist? "I'm quite energetic in general, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Drivers and Artistic Influences
Ball's determination originated in youthful setbacks. Not doing well in competitions at school made him "driven!" It was fuel to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
The next challenge is making his own choreography. For Ball, "organic movement has value." "Challenging the conventions 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 aims his work to be filled with substance, drawing inspiration from books, compositions, and art.
Close-Up Dance and Personal Partnership
He additionally favors presenting dance in smaller venues. "It was just really thrilling," 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 sweating.'"
Ball has created duets with his partner, fellow principal Mayara Magri. The degree of faith between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." The couple aren’t usually paired on stage at their home company, which is perhaps healthy. "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."
On Social Media and Bodily Perception
On social media, followers can see clips from his dance films and images that highlight a sculpted physique. Does he mind that the engagement can be a bit 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—an object that can be interpreted on various ways.
Ball describes his younger 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 young person," he reflects. He likely has about ten years of dancing left. "I guess in the time to come, I want to be a bit more gentle with myself."
