In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's carriage is effortlessly upright, his arms muscular beneath a simple tee. During performances, ballet dancers can appear like mighty gods, yet often offstage they are petite. This is not true for Ball, whose tall stature is part of his popularity for princely characters and pas de deux work. With fine features and intense eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he faced little teasing for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has relished tackling substantial characters, particularly the psychological turmoil found in Kenneth MacMillan's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
His next starring appearance is as himself, in an "Evening With" series designed to offer behind-the-scenes insights into a performer's craft. He will guide the audience through a part, demonstrating his mental process while performance. Yet in more comedic works, the challenge is significant. "Don Quixote is one of the most demanding from a skill perspective," he notes.
The Psychological Game and Post-Performance Feelings
What about following a show, when he has succeeded? "It feels pretty good," he says. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, frequently I do feel embarrassed later. After Mayerling I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. But a dance maker previously remarked on a "kind of suffering in him." Is there? "I am very energetic usually, but I do have a dark side," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Artistic Inspirations
Ball's determination originated in youthful experiences. Not excelling in contests at school made him "vengeful!" This became 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 choreography. For Ball, "organic movement has value." "Breaking the conventions is interesting, 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 meaning, drawing inspiration from books, music, and painting.
Intimate Performance and Personal Dynamic
He also is interested in staging dance in smaller spaces. "It was just really exciting," he says of a past show. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of trust between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not usually paired on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "But I feel like we’re each other’s biggest cheerleader."
Regarding Instagram and Bodily Perception
On social media, fans can see videos from his dance films and images that highlight a sculpted physique. Does he care 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 compares it to seeing Michelangelo’s David—an object that can be seen on multiple ways.
Ball describes his early self as "eager for success." Has it met his hopes? "I am conscious of how reality is a separate thing to the dreams you had as a child," he muses. He likely has another decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
