Within the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's posture is naturally straight-backed, his arms defined beneath a simple white T-shirt. During performances, ballet dancers can appear like mighty deities, yet frequently in person they are small. Not so Ball, whose tall stature is one reason for his demand for heroic characters and partnering. With fine traits and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Top
Now 31, Ball is enjoying the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the company and was promoted annually, reaching the top rank of principal in 2018. He has relished taking on substantial characters, particularly the emotional angst found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next starring role is as himself, in an "Evening With" series aiming to offer behind-the-scenes insights into a dancer's craft. He will guide the audience through a part, showing his cognitive process while performance. Even in lighter works, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Struggle and Post-Performance Emotions
How does he feel after a show, when he has succeeded? "It's pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get lost in the character, frequently I do feel self-conscious later. Following an intense role I'm always thinking: Wow, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a dance maker previously remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he reveals. "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 determination originated in youthful experiences. Not excelling in contests at school made him "vengeful!" This became motivation to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own dance works. In his view, "organic movement has value." "Challenging the rules 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 wants his work to be loaded with substance, drawing ideas from literature, compositions, and art.
Close-Up Performance and Private Dynamic
He additionally favors presenting dance in more intimate spaces. "It was just really thrilling," he says of a past show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It resembled Dirty Dancing." The couple are not usually paired on stage at their home company, which might be beneficial. "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 biggest cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see clips from his dance films and images that highlight a sculpted form. Does he mind that the response can be somewhat objectifying? Not particularly. "The body is just what we work with, 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 multiple levels.
Ball characterizes his younger self as "eager for success." Did it lived up to his hopes? "I am conscious of how life is a different thing to the dreams you had as a child," he reflects. He probably has about ten years of dancing left. "I guess in the time to come, I want to be a bit more kind with myself."
