In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. The dancer's posture is naturally straight-backed, his limbs defined beneath a plain white T-shirt. On stage, dancers can seem like mighty deities, yet often in person they are petite. Not so Ball, whose height is one reason for his popularity for princely characters and pas de deux work. With fine traits and intense eyes, there's a touch of a brooding actor about him.
A Seamless Rise to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered minimal teasing for his early interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the troupe and was advanced annually, attaining the top rank of principal in 2018. He has loved tackling substantial characters, particularly the psychological angst found in a famed choreographer's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming starring role is as himself, in an "Evening With" event designed to offer behind-the-scenes insights into a performer's craft. He will walk the crowd through a part, demonstrating his mental workflow while performance. Even in more comedic works, the test is significant. "A classic ballet is one of the most demanding technically," he states.
The Psychological Game and Post-Performance Emotions
What about after a show, when he has pulled it off? "It feels pretty good," he admits. "However because I'm trying to squeeze all the juice out of it, and get immersed in the character, frequently I do feel self-conscious later. After an intense role I'm always like: God, what must people think?"
In person, Ball is reflective, mild-mannered, and quick to laugh at himself. But a choreographer previously remarked on a "kind of suffering in him." Is there? "I'm quite active usually, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that doubt has been an instigator for positive change."
Early Motivations and Creative Inspirations
Ball's tenacity stemmed from youthful experiences. Not excelling in competitions at school made him "vengeful!" This became fuel to demonstrate he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
An upcoming challenge is making his own choreography. For Ball, "organic movement has value." "Challenging the rules is compelling, but just acting 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 loaded with meaning, drawing ideas from literature, music, and painting.
Intimate Performance and Private Partnership
He also favors staging dance in smaller spaces. "It was just really exciting," he says of a past experience. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has made duets with his partner, 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 typically matched 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 admits. "But I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Bodily Perception
On social media, followers can see videos from his dance films and photos that highlight a sculpted form. Does he mind that the response can be a bit focused on appearance? Not particularly. "The body is just what we use, 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 describes his younger self as "eager for success." Did it met his expectations? "I feel very aware of how life is a separate reality to the aspirations you made as a child," he reflects. He probably has about ten years of performing ahead. "I suppose in the time to come, I want to be a bit more gentle with myself."
