Misty Copeland, the name that revolutionized the face of classical ballet, took her final bow Wednesday night in a dazzling farewell performance at New York’s Lincoln Center. The evening was a glittering celebration — not just of her storied career but of the profound mark she left on the art form. As gold confetti rained down and bouquets filled her arms, Copeland, the first Black female principal dancer in American Ballet Theatre’s 85-year history, closed a chapter that has inspired millions across the globe.
The gala, held at the David H. Koch Theater, brought together some of the biggest names in entertainment, including Oprah Winfrey and Debbie Allen, who paid heartfelt tributes to the dancer whose journey transformed ballet’s cultural landscape. “Misty didn’t just perform ballet,” Winfrey told the audience. “She changed it. She redefined who belongs, who gets to be seen, and who gets to lead.”
That single sentence captured the spirit of the night — a mixture of admiration, emotion, and celebration. For more than two decades, Copeland has embodied excellence and perseverance in a field historically dominated by white dancers. Her presence on the stage of the American Ballet Theatre redefined not only artistic standards but also social ones.
At 43, Copeland had not danced with ABT for five years, taking time to raise her son, Jackson, and expand her work as an author and advocate. But she returned to the stage for one last performance — not as a farewell to the art, but as a love letter to it. When her three-year-old son joined her on stage during curtain call, dressed in a tiny tuxedo, the audience erupted into applause. The moment was intimate yet symbolic — a powerful reminder of how Copeland continues to inspire future generations, even offstage.
The night’s program was curated largely by Copeland herself and reflected the range and depth of her artistry. She performed one of her signature roles, Juliet in Romeo and Juliet, alongside Calvin Royal III, who became ABT’s first Black male principal dancer in two decades. The chemistry between the two dancers was undeniable, blending grace with emotional rawness that left the audience spellbound.
Later, Copeland and Royal performed a modern duet, Wrecka Stow, choreographed by Kyle Abraham, showcasing her ability to move effortlessly between classical and contemporary forms. She ended the evening with Twyla Tharp’s Sinatra Suite, performing alongside longtime partner Herman Cornejo — a piece that combined elegance with a touch of jazz-infused charm, symbolizing her versatility as a performer.
Throughout the night, tributes poured in from fellow dancers, choreographers, and friends. Archival footage played on the big screen, showing her early days in the company, her groundbreaking promotion to principal dancer in 2015, and her countless interviews where she spoke about diversity, representation, and the power of perseverance.
Born in Kansas City, Missouri, and raised in San Pedro, California, Copeland’s journey to the pinnacle of ballet was anything but conventional. She grew up in poverty, often facing homelessness as her single mother struggled to care for six children. Copeland discovered ballet at age 13 — a late start by traditional standards — but her natural talent was undeniable. Within a few short years, she was training at the San Francisco Ballet School and later joined ABT on scholarship. In 2001, she became part of the corps de ballet; by 2007, she was a soloist, and in 2015, she made history as ABT’s first Black female principal dancer.
Her story resonated far beyond the dance world. Copeland became a symbol of resilience, appearing on magazine covers, publishing bestselling memoirs, and speaking out about race, identity, and body image in ballet. She reminded audiences that excellence is not bound by background — it’s defined by determination.
Over the years, Copeland has also worked to ensure that her success paves the way for others. Through the Misty Copeland Foundation, she launched Be Bold, an afterschool program that introduces young children of color to the arts. Her Bunheads book series, now in its second volume, aims to inspire the next generation of dancers through storytelling.
Speaking on the red carpet before the performance, Copeland said, “I feel good. I feel ready to take this next step.” Her words reflected not an ending but a continuation — a shift from performer to mentor, from artist to advocate. “There’s so much work and effort that has to be continuous,” she added.
The gala was also streamed live to nearby Alice Tully Hall, allowing the public to witness the event for free — a gesture that perfectly captured Copeland’s commitment to making ballet more accessible. For decades, she has pushed to expand the art form’s reach, bringing ballet to classrooms, community centers, and global audiences who once felt excluded from its world.
As the final curtain fell, Copeland was surrounded by friends, family, and fellow artists, each offering flowers and embraces. Glitter rained from above as she smiled through tears — a portrait of grace and gratitude. The crowd’s standing ovation wasn’t just for her last performance, but for everything she had represented throughout her career: progress, hope, and the breaking of barriers.
Misty Copeland’s departure from ABT marks the end of an era, but her legacy continues to ripple through every corner of the dance world. She didn’t just change ballet’s narrative — she rewrote it. Her journey from a young girl practicing in a gym to one of the most celebrated dancers in history stands as proof that art can transcend limits, redefine beauty, and challenge tradition.
Her final bow may have signaled the end of one chapter, but for Misty Copeland, the dance continues — in classrooms, in foundations, and in the dreams of every young artist who dares to believe that they, too, belong on the stage.