The curtain has fallen on one of the most transformative careers in American ballet history. Misty Copeland took her final bow at American Ballet Theatre on Wednesday evening, concluding a remarkable 25-year journey that forever changed the landscape of classical dance in America.

The farewell performance at Manhattan’s Lincoln Center represented both an ending and a celebration of unprecedented achievement. Copeland, who made history a decade ago as ABT’s first Black female principal dancer in the company’s 75-year existence, was honored at a star-studded gala that drew luminaries from across the entertainment world.

The emotional evening featured appearances by media mogul Oprah Winfrey and choreographer Debbie Allen, both of whom delivered heartfelt tributes to the retiring dancer. Winfrey expressed how Copeland’s achievements made her proud to identify as a woman, while emphasizing how the ballerina didn’t simply perform ballet but fundamentally transformed it by redefining who belongs in the art form.

A triumphant return to the stage

The gala marked Copeland’s first performance with the company in five years, during which time she focused on raising her 3-year-old son Harrison with her husband. The touching moment when her young son appeared onstage during curtain calls, dressed in a miniature tuxedo to embrace his mother, provided one of the evening’s most memorable scenes.

Despite her absence from performing, Copeland remained active in the dance world through various projects. She continued her successful career as an author, releasing the second volume of her “Bunheads” series in September. Additionally, she expanded her diversity advocacy work through the Misty Copeland Foundation, including the “Be Bold” afterschool program specifically designed for young children of color.

For her return performance, Copeland chose to dust off her pointe shoes for roles that held special significance in her career. She performed a duet as Juliet, widely considered one of ballet’s most passionate and demanding roles, and one she has described as her personal favorite. Her Romeo was Calvin Royal III, who achieved his own milestone in 2020 by becoming ABT’s first Black male principal dancer in two decades.

A career spanning multiple artistic mediums

The evening’s program showcased Copeland’s versatility as a performer. Following the classical Romeo and Juliet balcony scene, she and Royal performed a contemporary piece titled “Wrecka Stow” by Kyle Abraham. Copeland concluded her final ABT performance with Twyla Tharp’s “Sinatra Suite,” dancing alongside Herman Cornejo, one of her longtime favorite partners.

The celebration extended beyond Copeland’s own performances, with fellow dancers presenting additional ballet excerpts in her honor. The evening concluded with the traditional ballet farewell, as colleagues, teachers, and friends processed onto the stage one by one to offer hugs and bouquets while golden glitter cascaded from above.

From humble beginnings to historic achievement

Copeland’s journey to ballet stardom began in Kansas City, Missouri, before her family relocated to San Pedro, California. Growing up in near poverty with periods of homelessness as her single mother struggled to support six children, Copeland’s path to professional dance seemed unlikely.

She discovered ballet relatively late at age 13, significantly older than most future professional dancers begin their training. However, her natural talent quickly became apparent, earning her scholarship opportunities to study at the San Francisco Ballet School and eventually at ABT.

After joining ABT’s corps de ballet in April 2001, Copeland steadily advanced through the ranks, becoming a soloist six years later. Her promotion to principal dancer in June 2015 was announced at a news conference rather than through the company’s typical quiet internal announcement, reflecting her unique celebrity status within the dance world.

Addressing ongoing challenges in ballet diversity

As Copeland transitions away from performing, she acknowledges the concerning reality that ABT will no longer have a Black female principal dancer. She views this timing as an opportunity to shift her impact from visual representation on stage to behind-the-scenes work that could create lasting cultural change in the ballet world.

Her departure comes during what she describes as particularly challenging times for diversity, equity, and inclusion efforts across many industries. Despite these obstacles, Copeland remains committed to continuing her advocacy work, expressing confidence that passionate individuals will persist in their efforts regardless of external pressures.

While Copeland hasn’t completely closed the door on future dance performances, she emphasized that this retirement represents her moving to the next stage of her multifaceted career.

Source: The Associated Press via NBC News