“Love & Desire,” written by Hamish Bowles, first appeared in the April 2020 issue of Vogue. To explore more highlights from Vogue’s archives, subscribe to our Nostalgia newsletter here.
This spring, American Ballet Theatre’s principal dancer Misty Copeland, 37, and soloist Calvin Royal III, 31, will make history as the company’s first African American duo to take on the lead roles in Kenneth MacMillan’s Romeo and Juliet. The ballet, set to Sergei Prokofiev’s score composed under difficult circumstances in 1930s Soviet Russia and first performed at the Mariinsky Theatre in 1940, was originally choreographed by MacMillan for London’s Royal Opera House in 1965. It featured opulent costumes and sets by Nicholas Georgiadis. On opening night, legendary dancers Rudolf Nureyev and Margot Fonteyn received 43 curtain calls. (Fonteyn, then in her mid-40s, had revitalized her career through her partnership with Nureyev, who was nearly 20 years younger.)
MacMillan’s ballet is renowned for demanding both technical skill and subtle acting, as Juliet transforms from a lighthearted, youthful girl to a woman experiencing romantic and physical love for the first time. “Juliet is my favorite role, but I first tackled it with limited experience,” Copeland shares. She believes it’s a part that “you can’t fully grasp until you’re performing it live—it’s impossible to prepare for in the studio.” As for Romeo, who is on stage for most of the performance, ABT’s artistic director Kevin McKenzie, a celebrated Romeo in the 1980s, admits, “I used to curse MacMillan. The role is physically grueling and requires confidence because stamina is key. You get so exhausted that you must rely on your technique. Calvin is at a breakthrough point; he’s truly ready for Romeo.”
“Calvin is a spiritual dancer,” says Copeland, “and I’m thrilled to open up to him without any preconceptions, simply responding to the Romeo he portrays.”
Royal recalls his teenage years at ABT’s Jacqueline Kennedy Onassis School, watching the ballet from backstage and waiting to help bring on the carriage for the ballroom scene. “Even then, Romeo was a dream role I hoped to play someday,” he reflects. “When I learned Misty and I would perform together, it felt like an ‘aha’ moment—everything falling into place beautifully.”
Having danced Juliet alongside esteemed Romeos like David Hallberg and Roberto Bolle, Copeland sees Royal continuing in their noble tradition. “The stereotype of black male dancers is that they’re oversexualized and not classical—earthy, aggressive, erotic figures who aren’t equal to the ballerina,” she notes. “But Calvin has shattered that image. He has a princely aura—elegant and ethereal.”
McKenzie adds, “There’s a profound depth to his dancing. His response to music is instinctive and permeates everything he does. That’s something you can’t teach.”
Copeland has been following Royal’s progress since his days as a student in ABT’s Summer Intensive program over a decade ago, when she had just been promoted to soloist (she became a principal dancer in 2015). “I clearly remember being the young company dancer peeking into the studio company’s rehearsals,” she says. “Calvin stood out right away, and I pulled him aside to praise his maturity and his striking interpretation of a contemporary piece. With young dancers, especially those of color, I’m here to listen and offer advice—and he was never hesitant to seek it out.”
“I just felt so connected with him,””I connected with her and her story immediately,” Royal recalls of his first meeting with Copeland. “She’s become someone I can discuss anything with. Watching her journey from that initial encounter, seeing her voice reach such wide audiences, has fueled my own understanding of our duty as artists to support those who follow us.”
When Copeland needed a Prince Charming for a 2016 Cinderella performance with the Open World Dance Foundation in Houston—featuring local children in supporting roles—she reached out to Royal. “What really stayed with me,” he remembers, “was seeing all the children gathered in the wings, their eyes sparkling as they watched us perform the grand pas de deux. It was inspiring and motivated me to keep improving.”
The pair later danced together again for ABT in Alexei Ratmansky’s 2018 revival of Petipa’s Harlequinade, taking on the secondary roles of Pierrot and Pierrette. Royal’s character traditionally required whiteface makeup, a convention he and Copeland successfully campaigned to change. “The ballet world should welcome these conversations,” says Copeland, who has also questioned the Bolshoi’s continued use of blackface for some “exotic” roles. Ratmansky, formerly of the Bolshoi and now ABT’s artist in residence, supported their stance on Facebook: “What artistic purpose does black makeup serve when it obscures the performer? Why create unnecessary controversy?” Despite this, many Russian companies maintain the practice, citing tradition.
Last year, Royal portrayed the sinister sorcerer von Rothbart opposite Copeland’s Odette/Odile in Swan Lake at the Metropolitan Opera House, and both were featured in the 2019 Pirelli calendar, photographed by Albert Watson. “We’re two dancers of color who have dedicated ourselves and worked hard to earn our place,” Royal notes. “Now we stand together, and I’m excited to represent something that will grow and have a lasting impact. I imagine the next generation—dancers, sponsors, ballet supporters—seeing in our work the potential of the arts and what we can achieve as artists.”
Frequently Asked Questions
Of course Here is a list of helpful and clear FAQs about Misty Copelands groundbreaking performance in Romeo Juliet
General Beginner Questions
Q What is this From the Archives performance everyone is talking about
A It refers to a special release of a recorded performance from the American Ballet Theatres 2022 production of Romeo Juliet starring Misty Copeland as Juliet Its a chance to see a past landmark show
Q Why was Misty Copelands performance considered groundbreaking
A It was groundbreaking because Misty was the first Black female principal dancer at American Ballet Theatre to perform the lead role of Juliet in the companys history breaking a longstanding barrier in classical ballet
Q Who did Misty Copeland perform with
A She performed with fellow principal dancer Cory Stearns who played the role of Romeo
Q Do I need to know the story of Romeo Juliet to appreciate this
A Not at all While knowing the classic Shakespeare tragedy adds depth the ballet tells the story of two young lovers from feuding families through expressive dance and music making it easy to follow
Q Where can I watch this performance
A It was released as a special event in select cinemas and through various digital streaming platforms Check the American Ballet Theatres official website or digital retailers for availability
Deeper Advanced Questions
Q What specific challenges did Misty face in preparing for this iconic role
A Beyond the technical demands of any principal role she carried the weight of being a trailblazer This included navigating historical lack of representation and the pressure of redefining what a classical Juliet looks like for a new generation
Q How did her interpretation of Juliet differ from traditional portrayals
A Critics noted her Juliet possessed a palpable strength and agency moving beyond a purely fragile and innocent depiction Her powerful technique brought a new dynamic to Juliets passion and defiance
Q What is the significance of her partnership with Cory Stearns in this production
A Their partnership highlighted a shift towards colorconscious casting where the focus is on the artistic chemistry and technical excellence of the dancers rather than matching traditional aesthetics
Q Which version of the Romeo Juliet ballet score was used
A The production used