Misty Copeland Says Goodbye to ABT, Leaving a Mark on Ballet and Diversity

Misty Copeland took her final bow on Wednesday, twirling gracefully one last time in her pointe shoes as she concluded her journey with American Ballet Theatre (ABT), embraced by shimmering confetti and a cascade of flowers. Throughout her trailblazing career, Copeland became a beacon of diversity in a realm traditionally dominated by white ballerinas.

The gala, presented at Lincoln Center’s David H. Koch Theater, marked both ABT’s 85th anniversary and tribute to Copeland’s extraordinary journey. Notable speeches from stars like Oprah Winfrey and Debbie Allen commemorated her influence, with Winfrey expressing, “Misty didn’t merely perform ballet. She transformed it. She reshaped perceptions of who belongs, who is visible, and who can lead.”

For Copeland, the event was bittersweet, serving as both a reunion and farewell. It was her first performance with ABT in five years, a period during which she focused on raising her son, Jackson, alongside her husband. The audience was delighted when he joined her onstage in a tuxedo during curtain calls.

Beyond ballet, Copeland has ventured into writing, recently publishing the second installment of her Bunheads series. Additionally, she has broadened her advocacy for diversity through her Misty Copeland Foundation, which runs initiatives like Be Bold, aimed at encouraging young children of color to explore ballet and the arts.

During her last performances, Copeland embodied her cherished role of Juliet in Romeo and Juliet, partnering with Calvin Royal III, ABT’s first Black male principal dancer in two decades. She also showcased a modern duet in Kyle Abraham’s Wrecka Stow, before concluding with Twyla Tharp’s Sinatra Suite along with Herman Cornejo, another beloved collaborator.

The evening, partially curated by Copeland, included heartfelt speeches, film highlights of her career, and ballet excerpts performed by fellow dancers. As glittering confetti rained down, her circle of friends, family, and colleagues greeted her with hugs and flowers, creating an unforgettable ballet farewell.

Reflecting on her 25 years with ABT, she remarked in June, “It’s time for me to move to the next chapter. I view this as my way of saying ‘thank you’ to the company. So, it’s a goodbye, but my dancing isn’t over. … Never say never.” She further expressed her excitement on the red carpet, saying, “I feel ready to embrace this next phase,” reaffirming her commitment to advancing diversity in ballet.

Debbie Allen commended her influence, declaring, “She has motivated millions across the globe. Let’s hope it doesn’t take another 50 years for American Ballet Theatre to present another fabulous Black principal dancer.”

Originally hailing from Kansas City, Missouri, and raised in San Pedro, California, Copeland triumphed over adversity, having faced near-poverty and periods of homelessness with her mother and five siblings. She began ballet at 13, eventually receiving scholarships to study at the San Francisco Ballet School and ABT. She joined ABT’s corps de ballet in 2001, ascended to soloist in 2007, and in 2015, made history as the first Black woman promoted to principal dancer in the company’s 75-year history.

Despite her groundbreaking career, Copeland acknowledged ongoing challenges for diversity and inclusion in ballet, stating, “It’s genuinely concerning. The scope of visual representation has its limits. My intention is to keep shaping and transforming the ballet community and its culture.” She motivated others to persist: “Those who are passionate about this cause cannot be deterred. We will forge ahead.”

As Copeland concludes her tenure on the ABT stage, her legacy endures—a pioneering ballerina who broadened the horizons of who belongs in ballet and encouraged generations of aspiring dancers to think bigger.