Within the quiet atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his limbs defined beneath a plain white T-shirt. During performances, ballet dancers can seem as mighty gods, yet often offstage they are petite. This is not true for Ball, whose height is one reason for his demand for princely characters and partnering. With fine traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Entering the esteemed training institution at 11, he moved directly into the company and was promoted annually, reaching the top rank of principal in 2018. He has relished tackling substantial dramatic roles, especially the emotional angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes perspectives into a dancer's craft. He will walk the crowd through a role, showing his cognitive workflow while execution. Even in lighter works, the test is profound. "Don Quixote is one of the toughest from a skill perspective," he states.
The Psychological Game and After the Show Emotions
How does he feel following a performance, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to extract all the emotion out of it, and get immersed in the character, frequently I do feel embarrassed afterwards. After Mayerling I'm always thinking: God, 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 am very energetic usually, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."
Early Drivers and Artistic Influences
Ball's tenacity originated in early setbacks. Not doing well in contests at school made him "vengeful!" It was fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next challenge is making his own choreography. For Ball, "organic movement has value." "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 substance, drawing inspiration from literature, music, and painting.
Close-Up Dance and Private Dynamic
He also favors presenting dance in more intimate spaces. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not typically matched on stage at their home company, which is perhaps beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s favorite cheerleader."
On Social Media and Bodily Image
On Instagram, followers can see videos from his projects and photos that showcase a athletic form. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he states. He relates it to seeing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his younger self as "eager for success." Has it met his expectations? "I feel very aware of how life is a different reality to the aspirations you had as a child," he reflects. He likely has about ten years of performing left. "I guess in the future, I want to be a bit more kind with myself."
