Within the quiet atmosphere of a hotel bar near London's prestigious dance company, Matthew Ball orders a mint tea. His carriage is naturally upright, his arms defined beneath a plain tee. During performances, dancers can appear like mighty gods, yet often offstage they are petite. Not so Ball, whose tall stature is part of his demand for princely characters and pas de deux work. With delicate traits and intense eyes, there's a hint of a brooding actor about him.
A Seamless Ascent to the Pinnacle
Now 31, Ball is enjoying the crest of a career that has advanced smoothly. Growing up in Liverpool, he faced minimal teasing for his childhood interest in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was advanced each year, reaching the top rank of lead dancer in 2018. He has relished tackling substantial dramatic roles, especially the emotional turmoil found in Kenneth MacMillan's works.
"Your breath is short, your legs get heavy, but it’s really a mental fatigue."
Ball's upcoming featured role is in a talk, in an "In Conversation" series designed to offer intimate perspectives into a performer's craft. He will walk the audience through a role, showing his mental process during performance. Even in lighter ballets, the test is profound. "A classic ballet is one of the toughest from a skill perspective," he states.
The Psychological Struggle and After the Show Emotions
What about after a performance, when he has succeeded? "It's pretty good," he admits. "However because I'm trying to extract all the juice out of it, and get immersed in the role, quite often I do feel embarrassed later. After an intense role I'm always thinking: God, what must people think?"
Offstage, Ball is thoughtful, polite, and quick to laugh at himself. But a choreographer once observed on a "kind of suffering in him." Does this exist? "I'm quite active 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 Motivations and Creative Inspirations
Ball's tenacity originated in youthful experiences. Not excelling in competitions at school made him "driven!" This became fuel to prove he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he remembers.
An upcoming endeavor is creating his own choreography. In his view, "there's nothing wrong with." "Challenging 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 wants his work to be filled with meaning, drawing ideas from books, compositions, and art.
Close-Up Dance and Personal Dynamic
He also is interested in presenting dance in smaller venues. "It was just really exciting," he says of a past show. "You’re so close to the audience. I felt as if they were realizing: 'That’s a human, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of trust between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." The couple 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 admits. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Image
On social media, followers can see clips from his projects and images that highlight a sculpted physique. Does he mind that the engagement can be a bit objectifying? 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 multiple ways.
Ball characterizes his early self as "desperate for success." Did it lived up to his hopes? "I feel very aware of how life is a separate reality to the aspirations you had as a child," he reflects. He probably has about decade of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."
