Within the quiet ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. The dancer's carriage is naturally straight-backed, his arms muscular beneath a plain tee. During performances, dancers can seem as powerful deities, yet frequently in person they are petite. Not so Ball, whose tall stature is one reason for his demand for heroic roles and pas de deux work. Possessing delicate features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is experiencing the crest of a career that has progressed seamlessly. Raised in Liverpool, he faced little teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was promoted each year, reaching the top rank of principal in 2018. He has relished tackling substantial characters, particularly the emotional turmoil found in Kenneth MacMillan's works.
"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 dancer's craft. He will walk the audience through a part, demonstrating his mental workflow during execution. Even in lighter ballets, the test is profound. "A classic ballet is one of the most demanding from a skill perspective," he states.
The Mental Struggle and Post-Performance Feelings
What about following a show, when he has pulled it off? "It's pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the role, quite often I do feel embarrassed afterwards. Following Mayerling I'm always like: Wow, what must people think?"
In person, Ball is reflective, polite, and prone to laugh at himself. But a dance maker once remarked on a "kind of suffering in him." Is there? "I'm quite energetic in general, but I do have a dark side," he confesses. "I somewhat enjoy negativity sometimes. I've always felt that doubt has been an catalyst for good change."
Formative Motivations and Creative Influences
Ball's tenacity stemmed from early setbacks. Not doing well in competitions at school made him "driven!" It was fuel to demonstrate he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit obsessive," he remembers.
The next endeavor is making his own choreography. In his view, "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 aims his work to be loaded with substance, drawing ideas from literature, music, and art.
Intimate Dance and Private Dynamic
He also is interested in staging dance in smaller spaces. "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 person, and they’re perspiring.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It was like Dirty Dancing." They are not typically paired on stage at their main theater, which might be 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 favorite supporter."
On Social Media and Bodily Image
On Instagram, fans can see videos from his dance films and photos that highlight a athletic physique. Does he care that the engagement can be somewhat objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He compares it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his younger self as "desperate for success." Has it lived up to his expectations? "I am conscious of how life is a different thing to the dreams you made as a young person," 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."
