Within the hushed ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is naturally upright, his arms defined beneath a plain white T-shirt. On stage, dancers can appear like powerful gods, yet frequently offstage they are petite. Not so Ball, whose tall stature is part of his popularity for princely characters and partnering. With fine traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
At 31, Ball is enjoying the peak of a career that has advanced seamlessly. Raised in Liverpool, he encountered little 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 highest position of principal in 2018. He has loved tackling substantial dramatic roles, especially the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured appearance is in a talk, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a performer's craft. He will guide the crowd through a role, showing his mental process during performance. Yet in lighter works, the test is profound. "Don Quixote is one of the most demanding technically," he states.
The Psychological Game and After the Show Feelings
What about after a performance, when he has succeeded? "It's pretty good," he admits. "But because I'm trying to squeeze all the juice out of it, and get immersed in the role, quite often I do feel self-conscious afterwards. Following Mayerling I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, polite, and quick to laugh at himself. Yet a choreographer previously observed on a "kind of suffering in him." Is there? "I'm quite active usually, 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 good change."
Formative Motivations and Artistic Inspirations
Ball's tenacity originated in early setbacks. Not doing well in contests at school made him "vengeful!" 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 fanatical," he recalls.
The next challenge is creating his own dance works. In his view, "there's nothing wrong with." "Breaking 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 meaning, drawing ideas from books, music, and painting.
Close-Up Performance and Personal Partnership
He also favors staging dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his partner, fellow principal Mayara Magri. The level of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They aren’t typically matched on stage at their main theater, which is perhaps beneficial. "We’re both quite determined people, so it’s not always smooth sailing," he admits. "Yet I feel like we’re each other’s biggest supporter."
On Social Media and Physical Image
On social media, followers can see clips from his projects and images that showcase a athletic form. Does he care that the engagement can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very protective about it," he states. He relates it to seeing Michelangelo’s David—an object that can be seen on various ways.
Ball describes his early self as "eager for success." Has it met his expectations? "I am conscious of how reality is a different reality to the aspirations you had as a child," he reflects. He probably has about decade of performing left. "I guess in the future, I want to be a bit more kind with myself."
