Under the bright lights of the David Koch Theater at Lincoln Center Misty Copeland took her final bow, a moment that marked not only the end of the performance, but the end of a chapter that changed American ballet. A prominent dancer who broke down racial barriers in the art form retired Wednesday as a principal dancer with the American Ballet Theater after 25 years with the company.
But in an exclusive interview with CBS Mornings, she revealed that the decision to perform one last time was not what she originally wanted.
“Leading up to this moment was so interesting because I honestly didn't want to go back on stage and relive that moment,” she told Gayle King.
When asked why, Copeland explained that 2019 was her last year performing with American Ballet Theater before taking a five-year break, she began to feel exhausted after decades of dancing.
“I really started to feel burnt out, losing the passion that I had for dancing my entire career and my entire life,” she said. “And I always promised myself that I wouldn’t go on stage unless I felt like I was acting from my heart and, you know, from my soul.”
She said that after taking a break, she viewed her return as an opportunity to bring closure and express gratitude.
“Taking those five years and really thinking about what this moment means in terms of just ending and saying 'thank you,' I think that's what brought me back to the stage for the show,” Copeland said.
Last bow
At Copeland's farewell gala at Lincoln Center. Oprah Winfrey and Debbie Allen were among those who honored her career and influence.
“Misty Copeland didn't just do ballet, she changed it,” Winfrey said. “She did it. She redefined who belongs, who can be seen, and who should lead.”
Allen also praised Copeland's influence. “You are a prophecy fulfilled. A prophecy of goodness, genius, grace and strength,” she said.
Copeland helped organize the evening's program, which included scenes from Romeo and Juliet.
“I really wanted to do this piece because Calvin Royal is the second black soloist dancer in ABT history,” Copeland said. “And we were going to do a full-length ballet, the first two black dancers to perform lead roles together at ABT right before the pandemic hit.
The evening ended with a standing ovation. Copeland received bouquets from her husband Olu Evans and their three-year-old son Jackson, who saw her perform for the first time.
Redefining ballet
Copeland recalled the moment she made history by becoming the first black woman to be promoted to principal dancer with the American Ballet Theatre. She said it's in the title deeper meaning beyond personal recognition.
“I think about it and I've gone back and forth over the years in terms of what it really means and what the name opens the door for the next generation,” she said.
Its rise in 2015 was celebrated around the world, but it also brought with it new challenges. Copeland said the attention was driven by intense pressure and unfair expectations. “Articles have been written saying, 'If Misty doesn't go on stage and perform 'Swan Lake' perfectly, does she deserve to be the lead singer?' Is it because she's black? That’s why she has this opportunity?” – she recalls.
For Copeland, ballet was never about line perfection and technical mastery. “I know deep down that for me, the art form and dance is not even about technical accomplishments. For me, it's not about aesthetics and what's on the outside. For me, what saved my life was storytelling and being able to kind of step into this beautiful world and express myself in a way that I couldn't as a child,” she said.
Her relationship with dance began at age 13, an age when most professional ballerinas had already spent many years studying. Growing up in an environment of uncertainty and instability, she said ballet became a place of security and self-discovery.
“I felt beautiful, I felt strong, I felt powerful and I felt like I had a voice. I felt confident and for the first time in my life I felt stable,” she said. “Because there was no stability in my childhood. There was a lot of chaos and movement, and there wasn't always a home or food on the table. So ballet became, dance allowed me to flourish. He gave me structure. He gave me discipline. It gave me grace. It gave me purpose.”
With diversity, equity and inclusion initiatives coming under increasing criticism, Copeland said she believes now is the right time to step away from the activity.
“I think now is the right time for me to step away from the stage,” she said. “Because I think the impact I can have off stage will be greater than what I've done. It’s been 25 years since I’ve been a black body on this stage, and I think there’s been a lot of movement and shifts.”
She said progress in ballet also needs to happen behind the scenes.
“It's more than just seeing yourself on stage. This is what happens behind the scenes,” she said. “These are schools. How do we get teachers in schools who look like the children they serve? We get board members who make these decisions and represent a large group of people. There is so much work to be done.”
Copeland also announced that she will join ABT's board of trustees.
“You know, it’s not often that you see artists come to the boards and that you see women of color. And so being able to come to the table in a really impactful way, I think that's progress. And for me, it's so exciting and so exciting to be able to stay connected to this company that has been everything to me. I mean, this has been my dream since I was 13 years old. And I still can’t believe that I was able to survive it. out of the way where I am.”
Copeland said the timing of her departure was important.
“I always told myself, ‘I’m not going to be that ballerina who gets pulled into pointe shoes,’ like, ‘Girl, it’s time. You know, I want to be able to say, like, I feel good in this moment and now it's time for me to take a bow,” she said.
