In the quiet ambiance 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 simple tee. During performances, ballet dancers can appear like powerful gods, yet frequently in person they are small. This is not true for Ball, whose tall stature is one reason for his demand for princely roles and pas de deux work. With fine features and intense eyes, there's a touch of a brooding actor about him.
An Apparent Ascent to the Top
At 31, Ball is enjoying the crest of a career that has advanced smoothly. Raised in Liverpool, he faced little teasing for his early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was advanced annually, attaining the top rank of lead dancer in 2018. He has relished tackling meaty characters, especially the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's next featured appearance is as himself, in an "Evening With" event designed to offer behind-the-scenes insights into a performer's art. He will walk the crowd through a part, showing his mental process during execution. Even in lighter works, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he notes.
The Mental Game and After the Show Feelings
What about following 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 character, frequently I do feel embarrassed afterwards. Following an intense role I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a choreographer once observed on a "sense of suffering in him." Is there? "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 negativity has been an catalyst for good change."
Formative Drivers and Artistic Influences
His tenacity stemmed from youthful setbacks. Not doing well in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit fanatical," he remembers.
An upcoming endeavor is making his own dance works. For Ball, "there's nothing wrong with." "Breaking the conventions is interesting, 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 filled with meaning, drawing ideas from books, compositions, and painting.
Intimate Dance and Personal Dynamic
He additionally is interested in staging dance in smaller spaces. "It was just really exciting," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow principal Mayara Magri. The level of trust between them is clear. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." The couple aren’t usually paired on stage at their home company, 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 cheerleader."
Regarding Instagram and Bodily Image
On social media, fans can see clips from his dance films and photos that showcase a sculpted form. 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 precious about it," he explains. He compares it to seeing Michelangelo’s David—something that can be seen on multiple ways.
Ball characterizes his younger self as "eager for success." Has it lived up to his expectations? "I am conscious of how life is a different thing to the dreams you had as a young person," he reflects. He likely has about decade of performing left. "I suppose in the time to come, I want to be a bit more kind with myself."
