Misty Copeland Waves Goodbye to ABT, Leaves a Mark on Ballet and Diversity

Misty Copeland took her last bow on Wednesday, twirling once more on her pointe shoes while bidding farewell to American Ballet Theatre (ABT), enveloped in golden glitter and bouquets. Throughout her ground-breaking career, Copeland emerged as a beacon for diversity in a realm traditionally dominated by white dancers.

The gala at Lincoln Center’s David H. Koch Theater commemorated both ABT’s 85th anniversary and Copeland’s extraordinary journey. Glittering speeches underscored her impact, with Oprah Winfrey and Debbie Allen lauding her contributions. Winfrey remarked, “Misty didn’t just perform ballet. She changed it. She redefined who belongs, who gets to be seen, and who gets to lead.”

For Copeland, the gala symbolized both a return and a farewell. It was her first performance with ABT in five years, during which she devoted time to her 3-year-old son, Jackson, whom she raises with her husband. The little one charmed the audience when he appeared on stage in a tuxedo during curtain calls.

Copeland is also an author, having launched the second installment of her Bunheads series in September, and she has expanded her advocacy for diversity through the Misty Copeland Foundation. Initiatives such as Be Bold aim to galvanize young children of color to pursue ballet and the arts.

Her last performances showcased her favorite role, Juliet in Romeo and Juliet, where she danced alongside Calvin Royal III, ABT’s first Black male principal dancer in 20 years. She also performed a contemporary duet in Kyle Abraham’s Wrecka Stow and concluded with Twyla Tharp’s Sinatra Suite alongside Herman Cornejo, another cherished partner.

The evening, partially curated by Copeland, included speeches, career film clips, and ballet excerpts from her colleagues. Sparkling confetti cascaded from the rafters as friends, family, and fellow dancers embraced her with hugs and flowers, a true ballet farewell.

Reflecting on her 25 years with ABT, Copeland stated in June, “It’s time for me to move to the next stage. I feel like this is me saying ‘thank you’ to the company. So it’s a farewell. But it won’t be the end of me dancing… Never say never.” On the red carpet, she shared, “I feel good. I feel ready to take this next step,” reaffirming her dedication to promoting diversity in ballet.

Debbie Allen remarked on her influence: “She’s inspired millions around the globe, and hopefully, American Ballet Theatre won’t wait another 50 years before having another beautiful Black principal dancer.”

Born in Kansas City, Missouri, and raised in San Pedro, California, Copeland triumphed over near-poverty and periods of homelessness with her single mother and five siblings. She took her first ballet class at 13, subsequently attending the San Francisco Ballet School and ABT on scholarships. Copeland joined ABT’s corps de ballet in 2001, became a soloist in 2007, and ascended to principal dancer in 2015—the first Black woman to do so in the company’s 75-year history.

Despite her history-making career, Copeland acknowledged the challenges ahead for diversity, equity, and inclusion in ballet. “It’s definitely concerning,” she remarked. “There’s only so much that visual representation… can do. I aim to continue shaping and shifting the ballet world and culture.” She urged perseverance: “There’s no way to stop the passionate individuals involved in this work. We will keep pushing forward.”

As she steps away from the ABT stage, Copeland’s legacy remains: a pioneering ballerina who expanded the boundaries of inclusion in ballet, igniting aspirations in young dancers to dream bigger.