Trailblazing ballerina Misty Copeland’s retirement from the American Ballet Theatre (ABT) marks not just the end of a legendary stage career, but a pivotal moment to reflect on her profound, decades-long influence in diversifying ballet and inspiring generations of dancers and artists globally.
After a storied 25-year career with the American Ballet Theatre, Misty Copeland is officially retiring from the stage. Her farewell is being celebrated with a star-studded Fall Gala on Wednesday, October 22, 2025, an event that underscores her immense impact both onstage and as a powerful advocate for change. This isn’t merely a goodbye to a dancer; it’s a moment to honor a cultural icon who permanently reshaped the landscape of classical ballet.
The gala, held at Lincoln Center’s David H. Koch Theater, will feature tributes from luminaries like Oprah Winfrey and Debbie Allen. Copeland herself will perform excerpts from “Romeo and Juliet” and “Sinatra Suite,” alongside the world premiere of a new piece choreographed by Kyle Abraham. For those unable to afford the $5,000 gala tickets, the ABT is generously offering hundreds of free tickets to a live simulcast at Alice Tully Hall, a block away, reflecting Copeland’s own commitment to accessibility.
“Although I’ll be saying farewell to the stage, I’ll always be committed to opening doors, creating space, and making ballet a place where everyone belongs,” Copeland shared in a public Instagram post ahead of her final performances.
A Trailblazer’s Journey: From Late Start to Principal Dancer
Copeland’s path to ballet stardom was unconventional from the start. She began dancing in California at the age of 13, a remarkably late start by ballet standards. Despite this, her talent quickly shone through. She joined the ABT’s corps de ballet in 2001 at 18, rapidly climbing the ranks of one of the premier classical ballet companies in the United States.
Her career was marked by a series of historic “firsts”:
- In 2007, she became the company’s second African American female soloist.
- In 2015, she made history again as the first Black woman principal dancer in ABT’s 75-year history, the highest company ranking. This promotion, unlike others, was announced at a news conference, a testament to her burgeoning celebrity.
Susan Jaffe, Artistic Director for the American Ballet Theatre, affirmed Copeland’s profound influence, stating, “On stage, she broke barriers and redefined what it means to be a ballerina, inspiring generations with her artistry, strength, and grace. Off stage, she has used her voice to open doors and expand access to ballet and the arts. Her impact is still being defined, but there is no question it will be felt for decades to come.”
The “Jackie Robinson of Ballet” and Her Unique Artistry
Critics lauded Copeland’s captivating stage presence. Sarah L. Kaufman, a Pulitzer Prize-winning dance critic, described her as “magnetic,” noting that beyond the classic ballerina physique, Copeland possessed a “liveliness” and expressiveness that conveyed passion and warmth. This human personal expression, Kaufman observed, has become a rare quality in a ballet world increasingly focused on extreme technicality.
Copeland, once dubbed the “Jackie Robinson of ballet,” openly discussed the systemic challenges she faced as a Black woman in a field that historically prized uniformity. She recounted instances where she was not cast due to concerns about “ruining the piece’s aesthetic” or was advised to lighten her skin tone. For the first decade of her career, she was the sole Black dancer among approximately 100 in the ABT, as she shared in a CNN interview.
Her rise was particularly significant during a critical period for Black ballerinas. From 2004 to 2012, the Dance Theatre of Harlem (DTH), a company dedicated to training and highlighting dancers of color, went on hiatus due to financial difficulties. This created a significant void, leaving few Black dancers in other companies. Copeland’s growing prominence during this time provided a vital beacon of representation.
Beyond the Stage: Advocacy and Cultural Impact
Copeland’s influence transcended the ballet world. She gained mainstream recognition through diverse ventures, including appearing in a music video with Prince in 2009 and joining him on tour in 2011. She also authored a best-selling memoir and guest-judged on “So You Think You Can Dance?”. Her promotion to principal dancer sparked an unprecedented surge in interest and ticket sales for ballet, demonstrating her crossover appeal and ability to draw new audiences.
As Theresa Ruth Howard, founder of MobBallet, noted, Copeland became a “lightning rod” for a larger conversation about the lack of diversity in ballet. This was highlighted in a 2023 viral TikTok video where Copeland demonstrated how she still had to color her baby pink pointe shoes with foundation to match her skin tone. This led to her “Let’s Make a Pointe!” petition, advocating for Apple to offer diverse skin shades for its pointe shoe emoji, a powerful symbol of the subtle exclusion dancers of color have long faced.
Beyond representation, Copeland is actively working to make ballet more affordable and accessible through the Misty Copeland Foundation, which includes programs like “Be Bold,” an after-school initiative for young children of color. She has also continued her career as an author, with the second volume of her “Bunheads” series appearing in September.
The Future of Diversity in Ballet: A Mixed Legacy
Copeland’s impact is already visible in the growing number of Black ballerinas. India Bradley, recently promoted to soloist at the New York City Ballet, is the first Black woman to achieve that distinction in the company’s history. Bradley credits Copeland, stating that she “has completely left a snail trail for us to glide down a lot easier than the women before her.”
Bradley emphasized that Copeland “forced” major companies to consider Black ballerinas for higher ranks, fundamentally changing perceptions. However, significant work remains. The New York City Ballet still awaits its first Black woman principal dancer. At ABT, Copeland remains the sole Black woman among both principals and soloists. Similarly, the Paris Opera has only one Black ballerina in its highest rank.
When Copeland announced her retirement in June, she acknowledged the concern that her departure would leave ABT without a Black female principal dancer. She told the Associated Press, “It’s definitely concerning,” adding, “I’ve just gotten to a place in my career where there’s only so much I can do on a stage. There’s only so much that visual representation can do. I feel like it’s the perfect timing for me to be stepping into a new role, and hopefully still shaping and shifting the ballet world and culture.”
While she expressed that this is a “difficult time” for diversity, equity, and inclusion efforts, she remains resolute: “There’s no way to stop the people that feel passionate about this work. We will continue doing it.”
Copeland’s farewell performance is more than a concluding chapter; it’s a powerful affirmation of a legacy built on artistic excellence and unwavering advocacy. As India Bradley beautifully put it, “All of us just love her. And she deserves every single flower that she’s getting.” Her retirement marks a significant transition, but her commitment to a more inclusive ballet world will undoubtedly continue to inspire and drive change for generations to come.
