Within the hushed ambiance of a lounge near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally upright, his arms defined beneath a simple white T-shirt. On stage, ballet dancers can seem like powerful deities, yet frequently in person they are petite. Not so Ball, whose tall stature is part of his popularity for heroic characters and pas de deux work. Possessing delicate traits and piercing eyes, there's a hint of a brooding actor about him.
An Apparent Ascent to the Pinnacle
At 31, Ball is enjoying the crest of a career that has advanced seamlessly. Growing up in Liverpool, he encountered little teasing for his childhood interest in ballet. Entering the esteemed training institution at 11, he moved straight into the troupe and was promoted annually, reaching the top rank of principal in 2018. He has relished taking on meaty dramatic roles, especially the psychological turmoil found in a famed choreographer's works.
"Your lungs are burning, your legs get heavy, but it’s really a neural fatigue."
Ball's next starring appearance is as himself, in an "In Conversation" event aiming to offer behind-the-scenes insights into a dancer's craft. He will guide the crowd through a role, showing his cognitive workflow during 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 Game and After the Show Emotions
How does he feel following a performance, when he has pulled it off? "It's pretty good," he says. "But because I'm trying to extract all the juice out of it, and get immersed in the character, frequently I do feel self-conscious afterwards. After an intense role I'm always like: God, what must people think?"
Offstage, Ball is thoughtful, mild-mannered, and quick to laugh at himself. But a dance maker once remarked on a "sense of suffering in him." Is there? "I am very active usually, but I do have a dark side," he confesses. "I kind of enjoy pessimism sometimes. I've always felt that doubt has been an instigator for positive change."
Early Drivers and Creative Inspirations
Ball's determination originated in youthful experiences. Not doing well in competitions at school made him "driven!" It was motivation to prove he could achieve. Reading the book *Mao's Last Dancer* was a "pivotal" moment. "It flipped a switch, it made me go a bit obsessive," he recalls.
The next challenge is making his own choreography. In his view, "organic movement has value." "Breaking the conventions 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 inspiration from literature, music, and painting.
Intimate Performance and Private Partnership
He additionally 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 thinking: 'That’s a person, and they’re sweating.'"
Ball has created pieces with his girlfriend, fellow principal Mayara Magri. The level of faith between them is clear. "We tried it out on the beach first," he says of a daring lift. "It was like Dirty Dancing." The couple are not usually matched on stage at their main theater, which might be beneficial. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "But I feel like we’re each other’s favorite supporter."
Regarding Instagram and Physical Image
On social media, followers can see clips from his dance films and photos that highlight a athletic physique. Does he mind that the engagement can be a bit objectifying? Not particularly. "The body is just what we use, so I don’t feel very precious about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be interpreted on multiple ways.
Ball describes his younger self as "desperate for success." Did it lived up to his hopes? "I am conscious of how reality is a separate reality to the aspirations you made as a child," he reflects. He likely has about ten years of performing left. "I suppose in the future, I want to be a bit more kind with myself."
