On October 22, 2025, the ballet world celebrated the remarkable career of Misty Copeland as she took her final bow with the American Ballet Theatre (ABT) after 25 years. This monumental farewell not only honored her groundbreaking achievements as the first African-American female principal dancer in the company’s history but also underscored her enduring legacy as a tireless advocate for diversity and inclusion in an art form she profoundly reshaped.
The stage at Lincoln Center’s David H. Koch Theater was bathed in golden glitter and showered with bouquets on Wednesday, October 22, 2025, as Misty Copeland completed her final performance with the American Ballet Theatre (ABT). This star-studded gala marked the culmination of a 25-year career that not only saw Copeland reach the pinnacle of classical ballet but also transform the predominantly white art form from within. Her retirement, though a departure from active company dancing, signals a new chapter for her deep commitment to increasing diversity and access in dance.
From Prodigy to Principal: Misty Copeland’s Ascent
Born in Kansas City, Missouri, and raised in San Pedro, California, Misty Copeland defied conventional timelines, beginning her ballet training at the relatively late age of 13. Despite this, her exceptional talent quickly shone through, earning her scholarships to prestigious institutions like the San Francisco Ballet School and eventually the ABT. She joined ABT’s corps de ballet in April 2001, became a soloist in August 2007, and, on June 30, 2015, made history by becoming the first African-American female to be promoted to principal dancer in the company’s 75-year existence, as reported by The New York Times.
Her promotion was not just a personal triumph but a cultural watershed moment, celebrated widely and recognized by organizations like Under Armour, who congratulated her as “a woman who is driven not by her detractors, but by her desire to be great.” Copeland herself acknowledged the significance, stating, “I didn’t know that there would be a future for an African-American woman to make it to this level. At the same time, it made me so hungry to push through, to carry the next generation.”
A Gala to Remember: Celebrating a Legacy
The farewell gala was a truly special event, attracting a “who’s who of theatre, fashion and television icons,” including Oprah Winfrey, Gayle King, and renowned “Fame” choreographer Debbie Allen. Oprah Winfrey, speaking at the event, eloquently summarized Copeland’s impact: “Misty didn’t just perform ballet. She changed it. She redefined who belongs, who gets to be seen, and who gets to lead.”
Copeland, 43, graced the stage for a final time with a powerful program:
- An excerpt from “Swan Lake” in her iconic dual role of Odette/Odile.
- A passionate duet from the “Romeo and Juliet” balcony scene with Calvin Royal III, who himself made history as ABT’s first Black male principal dancer in two decades in 2020.
- Her ultimate performance: a piece from Twyla Tharp’s “Sinatra Suite” alongside one of her favorite partners, Herman Cornejo.
The evening culminated in a quintessential ballet farewell, with colleagues, teachers, and friends greeting her one by one, offering hugs and bouquets as golden glitter cascaded from the rafters. A heartwarming moment saw her 3-year-old son, Harrison, in a tuxedo, toddle onto the stage to embrace his mother during the curtain call. The event’s immense popularity led to a live simulcast at nearby Alice Tully Hall, offering free attendance to the public, as noted by CBS News.
Beyond the Barre: A Multifaceted Icon
Copeland’s influence extends far beyond the ballet stage. Her unique crossover fame has seen her grace the cover of Time magazine as one of its 100 most influential people, star in a Prince music video, and make a highly anticipated Broadway debut in “On the Town.” She is also a successful author, with the second volume of her “Bunheads” series appearing in September 2025.
Her focus is now shifting to her significant philanthropic endeavors. After taking a five-year hiatus from dancing with ABT to raise her son, Copeland is dedicating herself to increasing diversity in the dance world through her namesake foundation, including “Be Bold,” an after-school program for young children of color. She stated, “I’ve become the person that I am today, and have all the opportunities I have today, because of ballet, (and) because of American Ballet Theatre. 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,” as confirmed by her official statement on American Ballet Theatre’s website.
The Challenge Ahead: Sustaining Diversity
Despite Copeland’s remarkable success, the conversation around diversity in ballet remains critical. She acknowledged that her departure leaves ABT without a Black female principal dancer, calling it “definitely concerning.” However, she views this as an opportunity to intensify her off-stage work. “I think I’ve just gotten to a place in my career where there’s only so much I can do on a stage,” she said. “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.”
ABT principal dancer James Whiteside echoed the sentiment of her lasting impact, praising Copeland for ushering in a “new era of ballet.” He noted, “She has brought classical ballet to a lot of people, she’s incredibly famous and I think that’s really an amazing thing for the world of ballet and to keep the art form moving forward.”
The Demand for a Legend: Ticket Scalping and Public Access
The intense public desire to witness Copeland’s final performance was evident in the unprecedented demand for tickets. While official ABT tickets ranged from $90 to $950, scalpers took advantage of the rare moment, listing tickets for as much as $4,285 on third-party sites like Stubhub. Even nosebleed seats commanded a hefty $400. This starkly contrasts with typical ABT performance prices, where a rear orchestra seat for a show without Copeland might cost around $200.
In response to the exorbitant resale prices and to ensure broader access, the ABT, The Misty Copeland Foundation, and Lincoln Center partnered to stream a simulcast of the gala at Alice Tully Hall, providing an opportunity for more fans to experience the historic evening. As Aubrey Lynch, dean of students and director of ABT Rise, articulated, “Misty Copeland represents community, and we wanted to make this evening as accessible as possible.”
The End of an Era, The Beginning of Another
While Misty Copeland’s retirement marks the conclusion of her performance career with the American Ballet Theatre, it is clear that her mission to inspire and uplift will continue. As she stated, “This moment isn’t a farewell, it’s a celebration of everything we’ve built together, and a step toward all the work that’s still ahead.” Her dedication to making ballet a more inclusive and representative art form promises to leave an indelible mark for generations to come, ensuring her legacy endures long after her final pirouette.
