In the hushed atmosphere of a lounge near London's prestigious dance company, Matthew Ball orders a mint tea. His posture is naturally upright, his limbs muscular beneath a simple white T-shirt. During performances, ballet dancers can appear like mighty deities, yet frequently offstage they are small. This is not true for Ball, whose tall stature is part of his popularity for heroic characters and pas de deux work. With fine traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is experiencing the peak of a career that has advanced seamlessly. Raised in Liverpool, he faced little teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he graduated directly into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has loved taking on meaty dramatic roles, particularly the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is as himself, in an "In Conversation" event designed to offer behind-the-scenes insights into a performer's art. He will walk the crowd through a role, demonstrating his cognitive workflow while performance. Even in more comedic works, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he states.
The Mental Game and Post-Performance Feelings
How does he feel after a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get lost in the role, frequently I do feel embarrassed afterwards. After an intense role I'm always like: Wow, what must people think?"
In person, Ball is reflective, polite, and quick to laugh at himself. But a dance maker once observed on a "sense of suffering in him." Does this exist? "I am very energetic usually, but I do have a melancholy streak," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that negativity has been an catalyst for good change."
Formative Motivations and Creative Influences
His tenacity originated in youthful setbacks. Not doing well in competitions at school made him "driven!" This became motivation to prove he could succeed. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next endeavor is making his own dance works. For Ball, "organic movement has value." "Challenging the conventions is compelling, but just pretending that they’re not a reality any more – I don’t know how far you can go with that." He aims his work to be loaded with meaning, drawing ideas from literature, music, and art.
Intimate Performance and Personal Partnership
He also favors staging dance in more intimate venues. "It was just really thrilling," he says of a previous experience. "You’re so near to the viewers. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has created pieces 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." They are not typically paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite cheerleader."
On Social Media and Physical Image
On social media, followers can see clips from his projects and photos that highlight a sculpted physique. Does he care that the engagement can be a bit objectifying? Not particularly. "The body is just what we work with, so I don’t feel very precious about it," he explains. He compares it to seeing Michelangelo’s David—an object that can be interpreted on various ways.
Ball describes his early self as "eager for success." Has it met 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 about ten years of dancing left. "I suppose in the time to come, I want to be a bit more kind with myself."
