Within the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is effortlessly upright, his limbs defined beneath a plain white T-shirt. On stage, ballet dancers can seem like powerful gods, yet often in person they are petite. Not so Ball, whose tall stature is one reason for his demand for princely roles and pas de deux work. With delicate traits and intense eyes, there's a hint of a brooding actor about him.
An Apparent 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 ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was promoted each year, reaching the top rank of principal in 2018. He has loved taking on meaty characters, especially the emotional angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured appearance is in a talk, in an "In Conversation" series designed to offer behind-the-scenes insights into a performer's art. He will walk the crowd through a role, showing his mental workflow while performance. Yet in more comedic ballets, the challenge is profound. "A classic ballet is one of the most demanding technically," he notes.
The Mental Struggle and After the Show Feelings
How does he feel after a performance, when he has pulled it off? "It feels pretty good," he says. "However because I'm trying to squeeze all the emotion out of it, and get lost in the role, frequently I do feel self-conscious afterwards. After Mayerling I'm always like: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer once remarked on a "kind of suffering in him." Does this exist? "I'm quite active in general, but I do have a melancholy streak," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Motivations and Creative Influences
Ball's determination stemmed from early experiences. Not excelling in competitions at school made him "driven!" It was fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own choreography. 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 filled with substance, drawing ideas from books, music, and art.
Intimate Performance and Private Partnership
He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a past show. "You’re so near to the viewers. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made duets with his partner, fellow principal Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple are not typically matched on stage at their main theater, which is perhaps beneficial. "We’re both quite strong-willed 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 videos from his dance films 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 use, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be interpreted on various levels.
Ball characterizes his younger self as "eager for success." Did it lived up to his expectations? "I am conscious of how life is a separate reality to the aspirations you made as a young person," he reflects. He probably has another ten years of performing ahead. "I suppose in the future, I want to be a bit more kind with myself."
