Within the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is naturally upright, his limbs defined beneath a plain tee. During performances, dancers can seem as mighty gods, yet often offstage they are small. This is not true for Ball, whose height is part of his demand for princely roles and partnering. Possessing fine features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Top
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced little teasing for his early interest in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was advanced annually, attaining the highest position of principal in 2018. He has relished tackling meaty 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."
Ball's upcoming starring appearance is in a talk, in an "Evening With" event designed to offer intimate insights into a performer's art. He will walk the audience through a part, showing his mental workflow during execution. Yet in more comedic ballets, the test is significant. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Game and After the Show Feelings
What about following a performance, when he has succeeded? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel embarrassed later. Following Mayerling I'm always like: Wow, what must people think?"
In person, Ball is reflective, mild-mannered, 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 in general, 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 Creative Influences
His determination originated in 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 "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming challenge is making his own dance works. In his view, "there's nothing wrong with." "Challenging the rules is compelling, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be loaded with meaning, drawing inspiration from books, compositions, and painting.
Intimate Dance and Personal Dynamic
He also is interested in presenting dance in more intimate venues. "It was just really exciting," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a human, and they’re perspiring.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a audacious lift. "It was like 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. "But I feel like we’re each other’s biggest supporter."
Regarding Instagram and Bodily Image
On social media, followers can see clips from his dance films and images that showcase a sculpted physique. Does he mind that the engagement can be a bit focused on appearance? Not particularly. "The body is just what we work with, so I don’t feel very protective about it," he states. He compares it to seeing Michelangelo’s David—something that can be seen on multiple levels.
Ball characterizes his early self as "desperate for success." Has it lived up to his expectations? "I am conscious of how life is a separate reality to the dreams you made as a young person," he reflects. He probably has another decade of performing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
