In the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His posture is effortlessly upright, his limbs muscular beneath a simple tee. During performances, dancers can appear as powerful gods, yet frequently offstage they are petite. This is not true for Ball, whose tall stature is one reason for his popularity for heroic characters and partnering. With delicate 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 peak of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was promoted annually, attaining the highest position of principal in 2018. He has loved tackling meaty characters, especially the psychological angst found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next featured appearance is as himself, in an "In Conversation" series designed to offer intimate insights into a dancer's art. He will walk the audience through a part, demonstrating his mental workflow while performance. Even in lighter works, the test is significant. "Don Quixote is one of the most demanding technically," he states.
The Mental Struggle and Post-Performance Emotions
What about after a performance, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to extract all the juice 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?"
Offstage, Ball is reflective, mild-mannered, and quick to laugh at himself. Yet a dance maker previously observed on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an instigator for good change."
Formative Drivers and Creative Influences
Ball's tenacity originated in early setbacks. Not excelling in competitions at school made him "driven!" This became fuel to prove he could achieve. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
An upcoming challenge is creating his own choreography. In his view, "organic movement has value." "Breaking 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 substance, drawing inspiration from literature, compositions, and art.
Close-Up Dance and Personal Partnership
He additionally favors staging dance in more intimate spaces. "It was just really exciting," he says of a past show. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re perspiring.'"
Ball has created duets with his girlfriend, fellow principal Mayara Magri. The degree of trust between them is evident. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple are not usually 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. "But I feel like we’re each other’s biggest supporter."
On Social Media and Physical Perception
On social media, fans can see clips from his dance films and photos that showcase a athletic form. Does he mind that the response 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 explains. He relates it to viewing Michelangelo’s David—something that can be interpreted on multiple levels.
Ball describes his early self as "desperate for success." Did it met his expectations? "I am conscious of how reality is a separate reality to the dreams you made as a child," he muses. He likely has about ten years of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
