Within the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly upright, his arms defined beneath a simple tee. During performances, dancers can appear as powerful gods, yet often in person they are petite. Not so Ball, whose tall stature is one reason for his popularity for heroic roles and pas de deux work. Possessing fine traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is experiencing the crest of a career that has advanced seamlessly. Raised in Liverpool, he encountered little teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was promoted each year, attaining the highest position of principal in 2018. He has relished taking on meaty characters, particularly the emotional angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is as himself, in an "In Conversation" series designed to offer intimate perspectives into a dancer's art. He will guide the crowd through a part, demonstrating his cognitive workflow while performance. Even in lighter works, the challenge is significant. "Don Quixote is one of the most demanding technically," he notes.
The Psychological Game and Post-Performance Feelings
How does he feel following a show, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get lost in the character, frequently I do feel self-conscious afterwards. Following an intense role I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. Yet a dance maker previously observed on a "kind of suffering in him." Does this exist? "I am very active usually, but I do have a melancholy streak," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an instigator for good change."
Formative Motivations and Creative Influences
His tenacity originated in youthful setbacks. Not excelling in competitions at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Challenging the rules is interesting, but just pretending 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 loaded with substance, drawing ideas from books, compositions, and art.
Close-Up Dance and Private Dynamic
He additionally is interested in presenting dance in smaller venues. "It was just really exciting," he says of a past experience. "You’re so close 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 lead dancer Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It was like Dirty Dancing." They aren’t usually matched on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Perception
On social media, fans can see videos from his projects and images that highlight a sculpted physique. 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 protective about it," he explains. He compares it to viewing Michelangelo’s David—something that can be seen on various ways.
Ball describes his younger self as "desperate for success." Did it lived up to his hopes? "I am conscious of how reality is a different reality to the aspirations you had as a young person," he reflects. He probably has another ten years of performing ahead. "I guess in the time to come, I want to be a bit more gentle with myself."
