Misty Copeland's Final Bow: Reflecting on a Groundbreaking Ballet Career

Under the bright lights of the David H. Koch Theater at Lincoln Center, Misty Copeland took her final bow, marking not just the end of a performance but the close of a chapter that transformed American ballet forever. The trailblazing dancer, who shattered racial barriers throughout her 25-year career with American Ballet Theatre, retired as a principal dancer in a moment that resonated far beyond the stage.

The Decision to Step Away

In an exclusive interview with CBS Mornings, Copeland revealed that the decision to perform one last time wasn't something she initially wanted. "It's been such an interesting kind of lead up to this moment, because I in all honesty I didn't wanna come back to the stage and have this moment," she told Gayle King. By 2019, her last year performing before taking a five-year hiatus, Copeland had begun to feel drained after decades of dancing.

"I really was starting to feel burnt out, kind of losing that passion that I've had my whole career and whole life for dance," she explained. "And I always promised myself I wouldn't go onstage if I didn't feel that I was delivering from my heart and, you know, my soul." The five-year break provided necessary perspective, allowing her to view her return as an opportunity for closure and gratitude rather than obligation.

A Historic Farewell

Copeland's farewell gala at Lincoln Center became a celebration of her groundbreaking career and lasting impact on ballet. The event featured notable figures including Oprah Winfrey and Debbie Allen, who honored Copeland's transformative influence. "Misty Copeland didn't just perform ballet, she changed it," Winfrey declared. "She redefined who belongs, who gets to be seen, and who gets to lead."

Allen echoed these sentiments, calling Copeland "a prophecy come true. A prophecy of goodness, and genius and grace and power." The evening's program, which Copeland helped organize, included a scene from "Romeo and Juliet" performed with Calvin Royal, the second Black male principal dancer in ABT's history. This performance represented a significant milestone that had been delayed by the pandemic.

Redefining Ballet and Creating Legacy

Copeland's 2015 promotion to principal dancer made her the first Black woman to achieve this position at American Ballet Theatre. Reflecting on this historic moment, she recognized that the title carried meaning far beyond personal recognition. "I think that and I've gone back and forth over the years in terms of, like, what that really means and the title is what has opened the doors for the next generation," she said.

This groundbreaking achievement came with intense pressure and scrutiny. Copeland recalled articles questioning whether she deserved the position and if her promotion was based on her race rather than her talent. Despite these challenges, she maintained that ballet was never just about technical perfection for her. "To me what's saved my life is the storytelling, and being able to kind of step into this beautiful world and express myself in ways that I couldn't as a child," she explained.

New Chapter: Beyond the Stage

Copeland believes this is precisely the right moment to transition from performing to focusing on systemic change within ballet. "I think that the impact that I can have off the stage is going to be greater than what I've done," she stated. "It's been 25 years that I've been a Black body on this stage, and I think that there's been a lot of movement and shifts."

Her commitment to diversity extends beyond representation on stage. "It's more than just seeing yourself on the stage. It's what's being implemented behind the scenes," Copeland emphasized. "It's the schools. It's how are we getting teachers in schools who look like the children they're serving? It's getting board members who are making these decisions who represent a greater group of people. There's so much work to be done."

In a significant development, Copeland announced she will be joining ABT's board of trustees, becoming one of the rare artists and women of color to hold such a position. "To be able to have a seat at the table — in a really impactful way — I think is progress," she said. "And that, to me, is so thrilling and so exciting to be able to stay connected to this company that has been everything to me."

Copeland's departure represents a carefully considered transition rather than an abrupt ending. "I always said to myself, like, I'm not gonna be that ballerina that they're pulling off by the pointe shoes," she remarked. "I wanna be able to say, you know, like, I feel good in this moment, and now is time for me to bow." Her final performance concluded with a standing ovation and bouquets from her husband, Olu Evans, and their 3-year-old son, Jackson, who saw his mother perform for the first time—a fitting conclusion to a career that redefined what's possible in ballet.