A Ballerina's Tale

Greetings again from the darkness. You may have seen her "60 Minutes" segment earlier this year, or you may have heard the announcement over the summer when she became the first African-American Principal dancer (prima ballerina) at American Ballet Theatre. Or perhaps you recognize her being featured in advertisements for Under Armour or T-Mobile. If none of this sounds familiar, then you may be totally unaware of Misty Copeland, and director Nelson George has just the documentary for you.

One need not be an expert on ballet to recognize the ability, tenacity and stage presence of the lovely and incredibly athletic Misty Copeland. The grainy footage of her dancing at age 15 can't prevent this star from shining. Soon enough she is the only black dancer in the American Ballet Theatre troupe of 80, and from there she just continues to advance.

The film touches on her unusual and challenging childhood, and also provides a brief primer on the history of ballet (15th century Italy, 17th century France), before naming the few names of the African-American ballet dancers over the years. See, skin with color and a muscular body were considered taboo in the lofty world of ballet … and it became even worse during the era of famed choreographer George Balanchine. His vision of the perfect dancer led to a culture of eating disorders, depression and impossible standards for body image. The point is that Misty Copeland not just broke down color barriers, but also body image expectations … even though she went through her own struggles (Krispy Kreme, anyone?).

We are also provided a peek at the physical grind and incredible strain that these dancers go through to appear so graceful and effortless on stage. A stress fracture in her shin threatened Misty's career, and the film follows her recovery and remarkable ability to become an even better dancer after the injury and surgery.

Most interesting is the relationship that Susan Fales-Hill cultivated with Misty. This mentorship helped Misty fight through the personal and social challenges, while also connecting with the movers and shakers throughout the African-American community. The film's best sequence has Misty connecting with Raven Wilkinson, who was a ground-breaking dancer from the 1950's. Watching these two ladies (separated by multiple generations) bond through dancing is heart-warming and extraordinary.

Of course, we also are treated to a few extended dance performances from Misty – both live performances and the under-appreciated practice sessions. This culminates with her being cast as Odette/Odile in "Swan Lake" … yes, a black 'white swan'. Her talent leaves us in awe, and is surely inspiring an entire generation of young dancers. The film certainly would have been better served by allowing us to connect with or understand Misty the person … but we must be satisfied watching Misty the dancer.

An In-depth look at the world of ballet made ever more entrancing by the gorgeous Misty Copeland. Initially, I feared the film would fully focus on the plight of the African- American in ballet. It touched on the subject just enough to make the viewer realize the awesome accomplishments of Ms.Copeland. From her injury rehab to her triumphant return and glimpses of her world performances, this peek into the art of ballet is fulfilling and thrilling. Congratulations, Misty Copeland!

With the subject being the first black (not Native American, or Latinx) woman to land such a hard earned position- I thought this film did a terrific job of keeping the content informative, yet appropriate for all ages. By summarizing her early childhood, and keeping the focus on her more recent acclaim, injury, rehabilitation, and return- it kept the runtime at an enjoyable level, without feeling bogged down by too much filler. I liked it so much I saw it twice when it was on Netflix last year, and I wish it was still available, as this is definitely something my 16 year old stepdaughter would enjoy.

I don't know why I didn't watch this years ago as I love ballet and before the world closed I loved to watch ballet performances in Seattle (where I live). As others have said this isn't necessarily earth shattering and Misty is a beautifully, super talented dancer. I personally would have like to see them address the colorism. Yes she is black, but she is super light-skinned and has very straight hair. I love the dance theater Alvin Ailey for this reason. You see amazing dancers in various hues. I want ballet to be more diverse, but where are the performers that look like me? that have kinky hair and deep chocolate skin? What are the girls that look like that supposed to aspire to? I can't recall the woman's name but the one she was in the scene with that she said she admired was lighter than Misty! But she was able to see herself in that woman as a child. I just want there to be a principal dancer for the dark chocolate girls with afro puffs to see themselves in too. And I don't think that was captured in this documentary.

Not clear whether the mixed race parents she spoke about were her biological parents or her adoption parents. It would have been a more complete and accurate life story to know the relations between those parenting groups. Also missing was the vast turmoil that dominated her early life in regard to who was guiding her, and with the substratum of economic ramifications. Not discussed and certainly an important part of her story.

If it wasn't constantly conveyed that she has some African genetics (i.e. she's black), at first I thought that she was Mediterranean or perhaps near/middle East or even India subcontinent. So the biracial emphasis seemed almost displaced, and also that she was told by her mother to always check the "black" box unless it was for advantages in economic and other affirmative action assistances.

Again, strange that even though she was promoted as a trail blazer for women of color in ballet, it was only towards the end that there was acknowledgment of such women present in that art from half a century and more previously (especially in the more accepting Europe). Most egregious was the lack of mention of Maria Tallchief who went to even greater ballet acclaim world wide despite an even more discriminatory cultural, political and economic milieu for Native peoples than was faced by African-Americans (an easy history check if doubted). Making me question the accuracy of "A Ballerina's Tale" were two comments concerning Balanchine where he was intimated to be a primary source of American ballet's supposed obsession with overly white ballerinas, yet guess who he championed - Maria Tallchief.