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 plain tee. On stage, ballet dancers can seem as powerful gods, yet often in person they are small. Not so Ball, whose tall stature is one reason for his popularity for princely characters and partnering. Possessing delicate traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Top
At 31, Ball is enjoying the peak of a career that has progressed smoothly. Growing up in Liverpool, he encountered minimal ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he moved directly into the troupe and was advanced each year, reaching the highest position of principal in 2018. He has relished tackling substantial characters, particularly the emotional angst found in a famed choreographer's ballets.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's upcoming featured appearance is in a talk, in an "In Conversation" series designed to offer behind-the-scenes insights into a dancer's craft. He will guide the crowd through a role, demonstrating his mental workflow while performance. Yet in lighter works, the challenge is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Struggle and Post-Performance Emotions
How does he feel 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 character, quite often I do feel embarrassed afterwards. After Mayerling I'm always thinking: Wow, what must people think?"
In person, Ball is thoughtful, polite, and prone to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Is there? "I am very active in general, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an catalyst for good change."
Early Drivers and Artistic Influences
Ball's tenacity originated in youthful setbacks. Not excelling in contests at school made him "driven!" This became motivation to prove he could achieve. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he remembers.
The next endeavor is creating his own choreography. For Ball, "organic movement has value." "Breaking the rules is interesting, 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.
Close-Up Dance and Private Dynamic
He additionally is interested in presenting 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 thinking: 'That’s a person, and they’re sweating.'"
Ball has made duets with his girlfriend, fellow lead dancer Mayara Magri. The degree of faith between them is clear. "We first practiced on a beach," he says of a audacious lift. "It resembled Dirty Dancing." They aren’t typically paired on stage at their home company, which might be beneficial. "We’re both quite determined people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s favorite cheerleader."
Regarding Instagram and Physical Perception
On social media, followers can see clips from his dance films and images that showcase a sculpted physique. Does he mind that the response can be somewhat focused on appearance? Not really. "The body is just what we use, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—something that can be seen on multiple ways.
Ball describes his younger self as "desperate for success." Has it met his expectations? "I feel very aware of how life is a separate thing to the aspirations you made as a young person," he muses. He likely has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
