Misty Copeland’s Historic Farewell At The Lincoln Center
Misty Copeland, the first Black female principal dancer in American Ballet Theatre’s 75-year history, took her final bow Wednesday night at Lincoln Center in New York. The night glittered—literally—with gold confetti and applause as Copeland ended her groundbreaking 25-year career with ABT.
Her farewell coincided with the company’s 85th anniversary gala, attended by an audience that included Oprah Winfrey and Debbie Allen. Both women paid tribute to Copeland’s transformative influence on ballet.
“Misty didn’t just perform ballet,” Winfrey said. “She changed it. She redefined who belongs, who gets to be seen, and who gets to lead.”
A Return to the Stage
Copeland, 43, danced with ABT for the first time in five years, performing her favorite role as Juliet alongside Calvin Royal III, ABT’s first Black male principal in two decades. The pair’s duet from Romeo and Juliet drew a standing ovation, followed by a modern number, Wrecka Stow, choreographed by Kyle Abraham.
She later partnered with Herman Cornejo in Twyla Tharp’s Sinatra Suite, her final performance of the night. At curtain call, her three-year-old son, Jackson, joined her on stage in a tiny tuxedo for a hug that melted the audience.
Honoring a Legacy Beyond the Stage
Throughout the evening, clips and tributes highlighted Copeland’s journey—from growing up in near-poverty in San Pedro, California, to breaking racial barriers in one of the world’s most exclusive art forms.
Copeland has already transitioned into her next act: writing, activism, and education. She recently released the second volume of her children’s book series Bunheads and continues her work through The Misty Copeland Foundation’s “Be Bold” program, which brings dance opportunities to children of color.
“It’s been 25 years at ABT, and I think it’s time,” she told the Associated Press. “This is me saying thank you to the company. But it won’t be the end of me dancing—never say never.”
The Weight of Representation
As Copeland exits, ABT is once again left without a Black female principal dancer—a reality that underscores the continued need for diversity in classical dance.
“It’s definitely concerning,” Copeland said. “There’s only so much visual representation can do. Now, it’s about shaping and shifting the culture itself.”
Allen echoed that sentiment at the gala, saying Copeland “helped redefine the face of ballet” and inspired millions worldwide.
The farewell performance was streamed live to nearby Alice Tully Hall, where fans watched free of charge—a fitting finale for a woman who spent her career making ballet more accessible and inclusive.
