CREATING threads of emotion is no easy feat. Yet New York–hailed artist and American Ballet Theatre Principal Calvin Royal III makes it appear effortless, his impassioned power woven through every movement. Speaking with him feels like stepping inside a bar of warm gold. Light pools and folds around him as he reflects on his work — emotionally driven pieces that mirror the complexities of modern life and confront the illusion of stability facing Black dancers today.
Royal’s choreography is heartwarming, thought-provoking and deeply effective. “I’ve had the joy of travelling the world, performing some of the most iconic classical roles, and collaborating with choreographers from different backgrounds on new creations,” he says as we settle into our conversation. “Beyond the stage, I see myself as a storyteller and cultural leader”.
Photograph: Andrew White & Sam Bates
For Royal, it all began with The Chocolate Nutcracker, a community production he joined as a young boy. “It was my first taste of being onstage, of telling a story through movement, and I was hooked,” he says. Born in Fort Stewart, Georgia, and later moving to Tampa, Florida, he competed in the Youth America Grand Prix at 16, winning a scholarship to study at American Ballet Theatre’s Jacqueline Kennedy Onassis School in New York City the following year.
When speaking of his inspirations, he does so with unguarded honesty. “My mum and my grandma – always!” he exclaims. “They’ve been my two biggest champions, and they still are. Their strength and belief in me carried me through those uncertain early days in New York, when I was just trying to find my place in ballet and in the world. Sometimes a simple phone call with them could change everything.”
Photograph: Andrew White & Sam Bates
Royal didn’t begin formal ballet training until he was fourteen, considered a relatively late start by industry standards. But once he stepped into the studio and understood the discipline and beauty of the form, he knew he had to pursue it. “My first ballet director and teacher, Mrs P, saw something in me and believed in my potential. She helped me stay focused whenever I’d stray,” he reflects. “She was an anchor, and I learnt so much from her about commitment and follow-through. It wasn’t one lightning-bolt moment but a steady fire that grew as I learnt, immersed myself, and saw progress.”
Those early days were physically and mentally demanding, yet deeply inspiring. “My body didn’t naturally fit the ideal ballet mould, and I was constantly playing catch-up,” he says. “But that challenge lit a fire in me to see how far I could go: to shape myself and my body into the best version possible. Mrs P often gave me videos to study at home so I could familiarise myself with the greats. I immersed myself in the history of dance, the artists who came before me, and the ballets and roles I now have the privilege of performing.”
Becoming a Principal Dancer at ABT has always been one of the pinnacles of Royal’s journey, especially as someone who started late and once doubted he’d ever fit in. “I’m grateful I’ve had opportunities to push boundaries; whether through creating and presenting new ballets like Christopher Rudd’s Touché, ABT’s first gay love story, or through performing the classics in ways that open doors and spark a sense of possibility for the next generation,” he says.
Photograph: Andrew White & Sam Bates
Yet obstacles inevitably surfaced. “I’ve had my share of injuries: a sprained ankle, bulging discs. I even had a moment during Romeo and Juliet at Lincoln Centre when my foot gave out mid-performance. I’m grateful to our physical therapists and perhaps a little divine intervention from the ancestors who helped me push through. Those experiences taught me to listen to my body and care for it with intention. Live performance is unpredictable, but that’s part of its beauty: it keeps it alive, spontaneous, even a little adventurous.”
Being one of the few Black and openly gay dancers in a major ballet company has also come with challenges, as discrimination and racial inequity continue to shape the arts despite society’s rhetoric of inclusion. “There have been unconscious biases, structural barriers, and moments when I felt I was carrying not just myself, but the weight of representation,” he says.
“It’s a blessing, but sometimes you simply want to exist freely, without that pressure. On the flip side, I’ve seen real progress, which gives me hope. Dance may be a silent art form, but over the years, I’ve found my voice. I’ve learnt to stand firm and push for evolution – not only for myself, but to help clear the path for those who follow.”
Photograph: Andrew White & Sam Bates
Asked about the lessons that matter most, he pauses. “To be present, to savour the good moments, and to face challenges head-on. It all passes so quickly. I’ve learnt to be graceful onstage, but I’m still learning to offer myself that same grace offstage when things aren’t going well. Life can be a lot, and we’re all just trying to juggle it as best we can,” he says. “One of my greatest mentors at ABT, Irina Kolpakova, always reminds us: ‘Have fun. Take your work seriously, but don’t take yourself too seriously.’ That advice has been gold.”
Some works have stayed with him long after the curtain fell. Touché by Christopher Rudd was one. “It was groundbreaking, intimate, deeply human. I also loved to be seen, a piece I created with Kyle Abraham and New York City Ballet’s Taylor Stanley in 2020 – a time when art became a way of processing a world in turmoil,” he says. “And Apollo, a breakthrough for me as a Soloist. It was the first time I truly saw myself reflected in a classical role: the strength, the vulnerability, the journey toward light. It changed how I thought about my place in ballet and what I could offer. And of course the classics – Swan Lake, Giselle, Romeo and Juliet – they’re timeless for a reason.”
Royal recently shared a special, slightly bittersweet moment on the American Ballet Theatre stage as he prepared with Misty Copeland for her farewell performance. “We were meant to dance Romeo and Juliet together in 2020: the first time two Black dancers would have taken on those roles at ABT, but the pandemic halted everything,” he says. “Five years later, we brought a glimpse of that dream to life at her farewell gala, performing a scene from Romeo and Juliet and a new work by Kyle Abraham. It felt like a full circle.”
Photograph: Andrew White & Sam Bates
Photograph: Andrew White & Sam Bates
He is now looking forward to debuting the title role in Lar Lubovitch’s Othello next spring, touring to Abu Dhabi this April for their Arts and Culture Festival, and returning to the Met this summer for Swan Lake, which he calls “a ballet that challenges and renews me every time I step into it.”
And change? “It can be intimidating, but it’s inevitable, especially in a career as short as ballet,” he reflects. “I’m trying to savour the present while staying open to whatever comes next. I’ve always set goals that once felt impossible and chipped away at them piece by piece, so I’m not afraid to be a beginner again.” Whatever follows ballet, he knows it will involve storytelling, theatre, and creating welcoming and empowering spaces. “Community has always been at the heart of what I do, and I hope to share what I’ve learnt with anyone open to growing alongside me and perhaps discovering something new together,” he says.
Photograph: Andrew White & Sam Bates
As our conversation stretches beyond its allotted time, Royal’s thoughts offer a quiet blueprint for living an impassioned life. He aspires to choreograph more, to dive deeper into music and creation, and to build outward from his own experiences towards a place of care and kinship. “I want to look back and know I truly lived it, that I nurtured relationships, honoured the people who shaped me, and never took the time or experiences for granted,” he says as we exchange our final words. “If I can leave behind both art and impact, then I’ll consider that a life well lived.”
by Chidozie Obasi
Photographers: Andrew White & Sam Bates
Art Director: Sam Bates
Stylist: Cassadee Chase
Grooming: Juliet Jane
Photography assistant: Zachary Wiczek
Styling assistant: Alex Murphy
Clothing Credits:
Image 1, 3: Vest, scarf LORO PIANA | Leggings TALENT’S OWN
Image 2: HERMÈS
Image 4, 5, 6: GIVENCHY BY SARAH BURTON
Image 7: IM MEN