A Ballerina's Tale

Iconic ballerina Misty Copeland made history in 2015, becoming the first African-American woman to achieve the title of principal dancer with the esteemed American Ballet Theatre. In an intimate look behind the scenes, Copeland shares her experiences in the American Ballet Theatre studios, where her perfectionism shines through, even extending to her preferred position in the classroom.

The American Ballet Theatre was established to create a formidable American presence in the global ballet arena, rivaling the Russian and French institutions. It performs at the New York City Metropolitan Opera House, a venue regarded as the pinnacle of stage acclaim worldwide.

Born in Kansas City and raised in San Pedro, California, Misty began her ballet journey at the age of 13, a relatively late start for a dancer. By the time she was 15, she emerged as one of California's top ballet talents, earning the prestigious Spotlight Awards. At the age of 17, she moved to New York, joining the American Ballet Theatre's studio company, and by the following year, she had secured her place in ABT's Corps de Ballet. Misty was fortunate enough to go on a two-week trip to China with the main company before officially starting her tenure, where she formed a friendship with Leyla Fayyaz, enjoying memorable outings to Red Lobster together. Despite the excitement, she also faced significant challenges, grappling with her weight loss journey while feeling isolated as the only African American woman in a group of 80 dancers, which led her to seek comfort in Krispy Kreme donuts during difficult times.

Susan Fales-Hill became a pivotal mentor for Copeland, connecting her with trailblazing women across various fields who would serve as role models in an industry frequently criticized for its lack of diversity. In classic ballet society, aesthetic judgments often skew towards pale skin and a youthful physique, leaving dancers of color significantly marginalized. Through a transformative epiphany, Misty recognized that her success transcended her individual dance career; she could become a beacon of inspiration for others aspiring to pursue ballet.

Misty showcased her talent in the role of Gamzatti in La Bayadère and, in 2013, had the extraordinary opportunity to take on the lead in Igor Stravinsky's demanding Firebird at the Metropolitan Opera House, a remarkable achievement for a soloist. The audience in the house reflected her growing fame, as her mentor brought many accomplished African American women to celebrate Copeland's success. After the performance, Misty candidly shared that she was in considerable pain due to fractures in her shins, yet she pushed through, determined to seize the fleeting opportunity of a successful season at the Met.

>The intensity of a ballet dancer's life often involves pain, with a high tolerance required to maintain performance integrity. Following her groundbreaking role in Firebird in fall 2012, Misty underwent significant surgery on her left shin, with many doubting her ability to regain her previous momentum.

During her rehabilitation, Misty learned floor barre exercises with Marjorie Liebert and tested her leg's strength by performing the Dying Swan alongside Michele Wiles and her Ballet Next Company. While she felt she had adequately performed, she recognized the need to use space more effectively.

Shortly after, Misty's apartment was graced by a visit from Raven Wilkinson, the first African American to perform in a major ballet company. Their dialogue revealed how encountering Mary Wilkinson’s story in a film brought Misty to tears, eliciting a shared humorous moment as they acted out a scene from Swan Lake they both had once performed.

Upon her return to the American Ballet Company, she participated in the Robert Bolle and Friends International Tour despite ongoing injuries, as seen in a chiropractic session in Italy addressing her back spasms. Amidst sketches of her costume and makeup preparations for performances alongside Jared Matthews, she navigated her recovery with perseverance, triumphantly marking her return.

Gilda Squire, Misty's manager, emphasizes that despite her aspirations of becoming the principal dancer at the American Ballet Theatre, she has already achieved remarkable success. With rising fame and an expanding audience supporting her journey, Misty was featured in an Under Armour photo shoot, reflecting her mission to diversify ballet and welcome individuals from all backgrounds. A celebratory moment arrived with the unveiling of a larger-than-life billboard, where Misty and friends toasted with champagne.

In the summer of 2014, Copeland was cast in the lead role of Swan Lake, making history as the first black woman to portray Odette/Odile in a prestigious international ballet company. After rehearsals and performances in Brisbane, Australia, on June 30, 2015, Misty Copeland's dream materialized as she was named the principal dancer at the American Ballet Theatre, proving that dreams truly can come to fruition.