Within the quiet ambiance of a hotel bar near London's prestigious dance company, Matthew Ball requests a mint tea. His carriage is naturally straight-backed, his arms defined beneath a plain tee. During performances, dancers can appear as powerful gods, yet often in person they are petite. This is not true for Ball, whose height is one reason for his demand for heroic roles and pas de deux work. With fine features and intense eyes, there's a touch of a brooding actor about him.
A Seamless Ascent to the Pinnacle
At 31, Ball is enjoying the peak of a career that has progressed smoothly. Raised in Liverpool, he faced little ridicule for his early interest in ballet. Joining the esteemed training institution at 11, he moved straight into the troupe and was promoted each year, reaching the highest position of principal in 2018. He has relished taking on meaty dramatic roles, especially the emotional angst found in Kenneth MacMillan's works.
"Your lungs are burning, your legs get heavy, but it’s really a mental fatigue."
His upcoming starring appearance is in a talk, in an "In Conversation" series designed to offer behind-the-scenes perspectives into a performer's craft. He will guide the crowd through a role, showing his cognitive workflow while performance. Even in lighter works, the challenge is significant. "Don Quixote is one of the toughest from a skill perspective," he notes.
The Psychological Game and After the Show Emotions
How does he feel after a performance, when he has pulled it off? "It's 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 later. Following an intense role I'm always like: Wow, what must people think?"
Offstage, Ball is reflective, mild-mannered, and prone to laugh at himself. But a choreographer previously observed on a "sense of suffering in him." Does this exist? "I am very energetic in general, but I do have a dark side," he confesses. "I kind of enjoy negativity sometimes. I've always felt that negativity has been an catalyst for positive change."
Formative Drivers and Artistic Inspirations
Ball's determination stemmed from early setbacks. Not doing well in contests at school made him "driven!" This became motivation to prove he could succeed. Reading 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 challenge is making his own choreography. For Ball, "organic movement has value." "Breaking the conventions is interesting, but just acting 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 ideas from literature, compositions, and art.
Intimate Dance and Personal Partnership
He also is interested in presenting dance in more intimate venues. "It was just really exciting," he says of a past experience. "You’re so near to the audience. I felt as if they were thinking: 'That’s a human, and they’re sweating.'"
Ball has made pieces with his girlfriend, fellow lead dancer Mayara Magri. The degree of trust between them is evident. "We first practiced on a beach," he says of a daring lift. "It resembled Dirty Dancing." They are not usually matched on stage at their main theater, which might be healthy. "We’re both quite strong-willed people, so it’s not always smooth sailing," he notes. "Yet I feel like we’re each other’s favorite supporter."
Regarding Instagram and Bodily Perception
On Instagram, followers can see videos from his projects and images that showcase a athletic physique. Does he care 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 protective about it," he explains. He relates it to seeing Michelangelo’s David—something that can be seen on multiple ways.
Ball describes his early self as "desperate for success." Has it lived up to his hopes? "I feel very aware of how life is a separate thing to the dreams you made as a young person," he reflects. He likely has about decade of dancing ahead. "I suppose in the time to come, I want to be a bit more kind with myself."
