In the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is effortlessly upright, his arms defined beneath a simple white T-shirt. During performances, ballet dancers can seem like mighty gods, yet frequently offstage they are petite. Not so Ball, whose tall stature is one reason for his demand for heroic roles and pas de deux work. With fine traits and intense eyes, there's a hint of a brooding actor about him.
A Seamless Rise to the Top
At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Raised in Liverpool, he encountered little ridicule for his early interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the company and was advanced each year, reaching the highest position of principal in 2018. He has relished taking on substantial characters, especially the psychological turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next starring appearance is as himself, in an "Evening With" series designed to offer behind-the-scenes perspectives into a performer's craft. He will walk the crowd through a role, demonstrating his cognitive process during performance. Yet in more comedic works, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Psychological Game and Post-Performance 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 juice out of it, and get lost in the character, quite often I do feel embarrassed afterwards. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. Yet a choreographer once observed on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a dark side," he reveals. "I somewhat enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Early Drivers and Creative Influences
His tenacity stemmed from early setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
The next challenge is making his own dance works. In his view, "there's nothing wrong with." "Breaking the conventions 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 aims his work to be loaded with substance, drawing inspiration from books, compositions, and painting.
Intimate Performance and Private Dynamic
He additionally is interested in presenting dance in more intimate venues. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not usually matched on stage at their main theater, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Physical Image
On social media, followers can see videos from his projects 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 work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—an object that can be seen on various levels.
Ball characterizes his younger self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how reality is a separate reality to the aspirations you had as a young person," he muses. He probably has about ten years of dancing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
