American ballerina Misty Copeland has bid farewell to the American Ballet Theater (ABT) stage after a groundbreaking career. As the first Black female principal dancer in the company’s 75-year history, Copeland became a global symbol of diversity and inclusion in the ballet world.
At a glittering gala held at Lincoln Center in New York, the 43-year-old dancer performed for the last time, receiving standing ovations from an adoring audience. The evening featured tributes from stars such as Oprah Winfrey and Debbie Allen. Winfrey praised her, saying, “Misty didn’t just perform ballet — she changed it. She redefined who belongs, who gets to be seen, and who gets to lead.”
It was Copeland’s first time performing with ABT in five years. During her time away from the stage, she focused on raising her son, Harrison, co-founded the Be Bold afterschool program to promote diversity in dance, and released new books in her children’s series Bunheads.
At the gala, Copeland performed as Juliet in “Romeo and Juliet,” her favorite role, alongside Calvin Royal III — ABT’s first Black male principal dancer in two decades. She also danced in Kyle Abraham’s “Wrecka Stow” and Twyla Tharp’s “Sinatra Suite,” receiving waves of applause. The evening ended with colleagues showering her with bouquets as golden glitter rained down from above.
Born in Kansas City and raised in San Pedro, California, Copeland overcame poverty and homelessness before beginning ballet at 13 — relatively late for a professional dancer. Her rapid rise led to scholarships with the San Francisco Ballet School and ABT. She joined ABT in 2001, became a soloist in 2007, and was promoted to principal dancer in 2015 — a milestone announced at a press conference, reflecting her celebrity status.
In an interview, Copeland said her retirement marks the end of an era but not the end of her dancing. “It’s been 25 years at ABT, and I think it’s time,” she said. “This is my way of saying thank you. It’s a farewell, but it won’t be the end. Never say never.”
Copeland also expressed concern that, with her departure, ABT no longer has a Black female principal dancer. “There’s only so much I can do onstage,” she said. “Now it’s time to keep shaping and shifting the ballet world in new ways.”
