In the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally upright, his limbs defined beneath a simple tee. During performances, dancers can appear like powerful gods, yet frequently in person they are petite. This is not true for Ball, whose tall stature is one reason for his demand for heroic characters and pas de deux work. With delicate traits and intense eyes, there's a touch of a brooding actor about him.
An Apparent Rise to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he graduated directly into the troupe and was promoted each year, reaching the highest position of lead dancer in 2018. He has loved taking on substantial dramatic roles, particularly the psychological angst found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a neural fatigue."
His upcoming featured role is as himself, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a dancer's craft. He will walk the crowd through a part, showing his mental process while execution. Even in lighter ballets, the challenge is profound. "A classic ballet is one of the most demanding from a skill perspective," he notes.
The Mental Struggle and After the Show Emotions
How does he feel after a show, when he has pulled it off? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get immersed in the role, frequently I do feel self-conscious later. After an intense role I'm always thinking: God, what must people think?"
In person, Ball is thoughtful, mild-mannered, and prone to laugh at himself. But a dance maker once remarked on a "kind of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a melancholy streak," he confesses. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Formative Drivers and Creative Inspirations
His tenacity stemmed from youthful experiences. Not doing well in competitions at school made him "driven!" This became fuel to prove he could succeed. Reading the book *Mao's Last Dancer* was a "watershed" moment. "It flipped a switch, it made me go a bit fanatical," he recalls.
The next challenge is creating his own dance works. For Ball, "there's nothing wrong with." "Challenging 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 aims his work to be filled with meaning, drawing inspiration from literature, music, and art.
Close-Up Performance and Personal Partnership
He also favors staging dance in more intimate venues. "It was just really thrilling," he says of a previous show. "You’re so near to the audience. I felt as if they were realizing: 'That’s a human, and they’re perspiring.'"
Ball has made pieces 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 was like Dirty Dancing." They aren’t typically matched on stage at their main theater, which is perhaps 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 cheerleader."
On Social Media and Bodily Image
On Instagram, followers can see clips from his dance films and images that highlight a athletic physique. Does he mind that the response can be a bit focused on appearance? Not really. "The body is just what we work with, so I don’t feel very precious about it," he states. He compares it to viewing Michelangelo’s David—an object that can be interpreted on various levels.
Ball characterizes his early self as "desperate for success." Has it met his hopes? "I feel very aware of how reality is a separate reality to the dreams you made as a young person," he muses. 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."
