Calvin Royal III

Artist-In-Residence: CALVIN ROYAL III

By Sarah Silverblatt-Buser

He is the first Black man to reach the highest rank of American Ballet Theatre in over two decades, and only the third Black principal in the company’s history.

Calvin Royal III “has an inner light,” remarked Kevin McKenzie, Artistic Director of American Ballet Theatre. Royal’s recent promotion to principal dancer at the world-renowned company is historic: He is the first Black man to reach the highest rank of the company in over two decades, and only the third Black principal in the company’s history. Royal’s promotion, however, comes as no surprise for Vail audiences, who have witnessed his artistic rise in the Rockies since 2015.

The Vail Dance Festival regular was slated to be last year’s Artist-In-Residence and will fulfill his duties of teaching, performing new roles, and taking part in the Empowering Boys in Dance initiative during this year’s in-person Festival. Each summer, Artistic Director Damian Woetzel highlights an artist who has garnered attention from spectators and peers alike to offer them added opportunities of enrichment.

“Year after year, Calvin has become ever more himself onstage,”

“Year after year, Calvin has become ever more himself onstage,” said Woetzel. “His level of comfort in everything he does has become expansive.”

—Damian Woetzel

said Woetzel. “His level of comfort in everything he does has become expansive.”

The Florida native began his story at the Festival in a modern premiere by Doris Duke Artist Pam Tanowitz. Citing his “generous, virtuosic, and humble” qualities as a dance artist, Tanowitz later chose to work with Royal in each of her ensuing Vail creations.

That notable debut in a challenging and untraditional work confirmed Royal’s ability to tackle a wider variety of neoclassical and contemporary roles. He demonstrated agility, strength, and musical nuance in George Balanchine’s Agon, Apollo and Stars and Stripes and revealed an elegant subtlety in Jerome Robbins’ Afternoon of a Faun. His technical versatility and pure presence in Michelle Dorrance’s encompassing tap collaborations proved that Royal has merely scratched the surface of his artistic potential.

“It has been a tremendous joy to be a part of Calvin’s story,” remarked Balanchine ballerina Heather Watts, who coached Royal and New York City Ballet soloist Unity Phelan in both Agon and Apollo alongside Woetzel. “His extraordinary dance gifts and kind, strong, and true heart and mind have made this process unbelievably rewarding.”

After his Vail and subsequent New York debuts as Balanchine’s god of music Apollo, Royal was described by The New York Times as “a god stepping into his light.”

Whether his light radiates from inside or illuminates the path in front of him, the brilliance of this rising star will shine far this summer in Vail.