metropolitan opera ballet

Dancers from George Balanchine’s production of Orfeo ed Euridice for the Metropolitan Opera in a photo by George Platt Lynes, 1936

The dancers are Lew Christensen, Daphne Vane and William Dollar.



Before Misty Copeland made history as the first African-American woman to become a principal dancer at the American Ballet Theatre, Janet Collins set the stage in 1951 as the first Black artist to perform at the Metropolitan Opera House.

Though Collins broke down barriers, she did not do so without confronting racism along the way. In 1932, while in her late teenage years, she auditioned with Leonide Massine for the prestigious Ballet Russe de Monte Carlo. He was more than happy to hire her, but only under one condition - she had to cover her face and body in white makeup in order to perform. Collins refused his offer, instead choosing to dance with Katherine Dunham’s company.

By 1947, she secured her first solo concert in Los Angeles, receiving rave reviews for her performance. She would repeat this success in New York City, with critic John Martin describing her in The New York Times as the “most exciting young dancer who has flashed across the current scene in a long time”. Soon after, she was hired to dance on Broadway in Cole Porter’s Out of This World, taking the role that would inspire the Metropolitan Opera to hire her for their 1951 production of Aida.

Collins performed additional roles at the Met in Carmen, La Gioconda and Samson and Delilah, eventually retiring in 1954 to focus on teaching and choreography. She disappeared from the public eye in her later life, during which she devoted herself to completing religious paintings.

In June 2014, Karyn Parsons of The Fresh Prince of Bel-Air launched a Kickstarter campaign to produce an animated short film about Collins’ journey.  The finished product, entitled Dancing in the Light: The Janet Collins Story, is now available for streaming on Netflix.