Key Highlights
- Misty Copeland and Calvin Royal III will perform as the first African American partners in the role of Romeo and Juliet.
- The production is set to music composed by Sergei Prokofiev under challenging conditions in Soviet Russia in the 1930s.
- ABT’s artistic director, Kevin McKenzie, highlights the physical challenge and emotional depth required for the roles.
- Copeland discusses the importance of breaking stereotypes about black male dancers in classical ballet.
The Breakthrough Performance: Copeland and Royal III as Romeo and Juliet
American Ballet Theatre’s (ABT) principal dancer Misty Copeland, 37, and soloist Calvin Royal III, 31, will make history this spring when they perform the title roles in Kenneth MacMillan’s Romeo and Juliet. This production marks a significant milestone as Copeland and Royal become the first African American partners to take on these roles at ABT.
The ballet, set to Sergei Prokofiev’s score from Soviet Russia in the 1930s, was initially choreographed by MacMillan for London’s Royal Opera House in 1965. The iconic performance features lavish costume and set designs by Nicholas Georgiadis and has been seen across numerous stages since its premiere at the Mariinsky Theatre in 1940.
Technical Virtuosity and Emotional Depth
The role of Romeo requires not only technical virtuosity but a deep emotional performance as the character evolves from a dreamy young man to one faced with intense love and conflict. “Juliet is my favorite role in my repertoire, but I first took it on without a lot of experience,” Copeland reflects. She notes that the role cannot be fully prepared in the studio; dancers must bring their full selves to the stage.
Kevin McKenzie, ABT’s artistic director and himself a celebrated Romeo from the 1980s, praises Royal III for his readiness: “Calvin is at a point of breakthrough. He’s really ready for Romeo.” Royal describes his role as spiritual, with a deep emotional connection to the music that informs every movement he makes.
Breaking Stereotypes and Encouraging the Next Generation
Copeland discusses how the classical ballet world often perpetuates stereotypes about black male dancers. “The stereotypical idea of black male dancers is that they’re oversexualized and not necessarily classical,” she says, adding, “But Calvin has burst through that stereotype.” Royal III’s princely aura and elegance challenge these preconceived notions.
“I’ve been following Calvin since his days as a student in ABT’s Summer Intensive program more than a decade ago,” Copeland shares. “With young dancers—and not just the black and brown, I’m a listening ear if they ever need any advice.” Royal III recalls how he felt connected to Copeland from their first meeting: “She has been someone that I can talk to about everything. Seeing how far she’s gone from that first meeting has ignited my own sense of responsibility as an artist.”
The couple’s collaborative history includes a 2018 performance in Alexei Ratmansky’s Harlequinade, where they successfully lobbied against the use of whiteface makeup, challenging traditional practices. Their recent performances together at the Metropolitan Opera House and in the 2019 Pirelli calendar further underscore their commitment to breaking barriers.
Conclusion
A New Era for Ballet
Misty Copeland and Calvin Royal III’s upcoming performance as Romeo and Juliet marks a new era for classical ballet. Their roles challenge long-held stereotypes, paving the way for future generations of dancers. As Copeland and Royal III embody the characters of love and desire, they also symbolize the broader potential of the arts to inspire and transform.
