In the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is effortlessly upright, his arms defined beneath a plain tee. During performances, dancers can appear like mighty gods, yet often offstage they are small. This is not true for Ball, whose height is part of his demand for heroic characters and pas de deux work. Possessing delicate features and piercing eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is experiencing the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered little ridicule for his childhood interest in ballet. Joining the esteemed training institution at 11, he moved straight into the company and was advanced each year, attaining the top rank of lead dancer in 2018. He has loved taking on substantial dramatic roles, especially the psychological turmoil found in Kenneth MacMillan's ballets.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
His upcoming featured role is in a talk, in an "Evening With" series designed to offer intimate insights into a dancer's art. He will walk the crowd through a part, showing his mental workflow during execution. Even in lighter works, the challenge is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.
The Mental Struggle and After the Show Emotions
How does he feel following a show, when he has succeeded? "It's pretty good," he says. "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. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Is there? "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 Drivers and Creative Influences
Ball's tenacity originated in youthful setbacks. Not doing well in contests at school made him "driven!" It was fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It changed everything, it made me go a bit obsessive," he remembers.
An upcoming challenge is creating his own dance works. In his view, "organic movement has value." "Challenging the rules 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 filled with substance, drawing ideas from literature, compositions, and painting.
Intimate Performance and Personal Partnership
He also is interested in presenting dance in smaller spaces. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were thinking: 'That’s a person, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow principal Mayara Magri. The degree of faith between them is evident. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." They are not usually paired on stage at their main theater, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he admits. "But I feel like we’re each other’s biggest supporter."
On Social Media and Physical Perception
On Instagram, followers can see videos from his dance films and photos that showcase a athletic physique. Does he mind that the response 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—something that can be interpreted on various levels.
Ball characterizes his early self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how life is a different thing to the aspirations you made 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."
