Within the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms muscular beneath a simple white T-shirt. During performances, ballet dancers can seem as mighty deities, yet often in person they are small. Not so Ball, whose height is one reason for his popularity for heroic roles and partnering. With delicate traits and intense eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Top
Now 31, Ball is experiencing the peak of a career that has progressed seamlessly. Growing up in Liverpool, he faced little teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was advanced each year, attaining the top rank of principal in 2018. He has loved tackling meaty dramatic roles, particularly the psychological turmoil found in a famed choreographer's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His next starring role is in a talk, in an "In Conversation" series aiming to offer behind-the-scenes insights into a dancer's art. He will guide the audience through a part, demonstrating his cognitive process while performance. Yet in lighter works, the challenge is profound. "Don Quixote is one of the most demanding technically," he notes.
The Mental Struggle and Post-Performance Emotions
What about after a performance, when he has succeeded? "It feels pretty good," he says. "But because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel embarrassed afterwards. After an intense role 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 previously observed on a "sense of suffering in him." Does this exist? "I am very energetic in general, but I do have a melancholy streak," he reveals. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for positive change."
Early Drivers and Artistic Influences
His tenacity originated in early setbacks. Not excelling in contests at school made him "driven!" It was motivation to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he remembers.
An upcoming endeavor is creating his own choreography. In his view, "there's nothing wrong with." "Challenging the rules is interesting, 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 meaning, drawing ideas from books, compositions, and painting.
Close-Up Dance and Private Dynamic
He also is interested in presenting dance in smaller spaces. "It was just really exciting," he says of a previous show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a person, and they’re perspiring.'"
Ball has created pieces with his partner, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not usually matched on stage at their main theater, which is perhaps healthy. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his projects and images that showcase a sculpted form. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we use, 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 early self as "eager for success." Did it lived up to his expectations? "I feel very aware of how reality is a different thing to the dreams you had as a young person," he muses. He probably has about decade of performing left. "I suppose in the future, I want to be a bit more gentle with myself."
