Étoile Recap: Tobias Versus Cheyenne

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These two chapters in Étoile present a chaotic intersection of personal, work, and political matters. Crispin Shamblee’s mischief, both at home and at sea, creates significant troubles for the characters and their institutions. When Crispin spitefully attempts to rename MBT’s Fish Theater, previously named after Jack’s great-grandmother, to the Shamblee Theater, it leads Jack into an introspective struggle culminating in a unique legal action against himself. Geneviève encounters no respite either, as she becomes entangled in the aftermath of an ecological disaster triggered by a Shamblee Energy Solutions oil spill near Brittany’s coast. Inaccurately describing the spill as a “hiccup” on live radio, Geneviève draws the wrath of environmentalists worldwide, generating a tsunami of negative publicity just before the opening performances of MBT and LBN’s joint season.

In the original casting, Camille Cottin was set to play Geneviève, but due to scheduling issues, Charlotte Gainsbourg stepped into the role instead. Unlike a television actress, Gainsbourg is a renowned movie star who effortlessly exudes big-screen charm and coolness in her character. Her comedy is remarkably fluid, as seen in these episodes where she expresses frustration with forceful hair flips, casually removes her high heels upon entering the office, and joyfully slides across an opulent, vacant lobby floor.

The previous statement gives us insights into Geneviève’s perspective towards her role. With numerous years as an arts leader culminating in a top position, albeit temporary, she is enjoying her authority. However, due to its interim nature, she seems to be relishing the power while it lasts. Moreover, her casual approach towards her responsibilities becomes evident when we consider her “hiccup” comment, which she tries to justify comically. Her explanations are amusingly self-contradictory, with Gainsbourg skillfully portraying a mix of conviction in the deception and embarrassment at sounding so foolish.

Geneviève is unintentionally affected by Crispin’s actions, while Jack is the primary focus of his anger. Crispin’s animosity towards Jack stems from a longstanding feud with Jack’s family, and his involvement in the theater name offers insights into Jack’s background. The third episode, titled “The Fish,” delves deeply into family relationships, introducing Jack and Geneviève’s relatives to provide necessary backstory for the characters’ actions. It was inevitable that a dance-oriented series like this would incorporate Kelly Bishop, a renowned actress from the original Broadway cast of “A Chorus Line” and mother of Baby from “Dirty Dancing,” who has also worked extensively with the show’s creators. In this production, she portrays Jack’s mother, Clara, a noblewoman whose character bears resemblance to Emily Gilmore from “Gilmore Girls” rather than the free-spirited Fanny Flowers from “Bunheads.

In later life, Dorothy Fish, who had her arms and legs amputated due to poor circulation, derived pleasure from watching people enter the theater named after her, a place where as a young child, Jack would sit with her. This memory, though forgotten by Jack, explains his strong emotional response to Crispin wanting to change the name of the theater (MBT). To Jack, MBT is more than just a property; it symbolizes Dorothy’s legacy and his own inheritance, which Crispin is trying to erase maliciously.

During a lunch in Crispin’s “mirrored hall,” designed to confuse potential assassins, Crispin belittles Jack by reminding him of his childhood tears in striped overalls, and openly admits that all his actions are retaliation for something Jack’s father did to him. The Fish family, moved by these events, decide to respond in kind, leading to the situation previously mentioned where they sue themselves.

In these episodes, Geneviève encounters diverse family situations, initiating with a trip to her sister Leonor (Céline Menville), who is an ambitious mother of three, cautious about Geneviève setting unreachable aspirations for her kids. Her niece yearns for a career like her admired aunt, however, there’s only one such role, and it would require her to relinquish life itself for the opportunity. Compared to Jack, Geneviève hails from a less privileged upbringing, probably having labored harder and made greater compromises to secure a position that she hasn’t fully attained yet.

Geneviève rushes out from her sister’s house and lands in a stressful family predicament upon arriving late at Mishi’s homecoming celebration. Leaving early after causing a commotion during dinner, she dampens the mood at the table. So far, Mishi has been sweet, innocent, and vulnerable, but she stands up for herself when she confronts Geneviève at dinner, accusing her of being responsible for the current predicament because she forced Mishi to return home, leaving her confidence in New York City behind. Taïs Vinolo’s portrayal beautifully conveys both Mishi’s burning anger and lingering trepidation about challenging authority. Thus, when she manages to express her true feelings, it feels like a significant triumph.

The tale of Mishi, as portrayed in Donna Zakowska’s designs, highlights the narrative element. In episode two, Mishi appears much like a child returning from a trip to New York City, carrying a stuffed bagel and dressed head-to-toe in NYC attire. Upon her return home from work in episode three, she dons a plaid miniskirt and Mary Janes, reminiscent of a school day. However, her outfit undergoes a significant transformation for dinner, presenting Mishi as a glamorous young woman in a shimmering, lacy, all-white ensemble. This stands in stark contrast to Geneviève’s attire of a black blazer and trousers. Yet, there remains a youthful charm to Mishi’s appearance, accentuated by the short shorts that also emphasize her legs, which are said to hold the key to her potential greatness.

Mishi’s ardor reveals Genevieve’s hidden abilities, which might remain untapped as long as she resides in the ancestral home associated with Ben Franklin’s scandalous encounter with a countess. In an unforeseen twist of fate, Genevieve reaches out to the woman who cultivated her brightest talent, asking Cheyenne‘s mom, Bruna (Marie Berto), to accommodate Mishi as a fresh housemate. Bruna receives Mishi with a stern demeanor, placing a worn-out mattress for her and stating that she’ll receive a proper bed if she can endure a night on the floor.

For the Toussaint family, tough love runs in their blood, and Mishi sacrifices the luxuries of her house to live with Bruna. Meanwhile, SuSu grapples with the weight of being tutored by Cheyenne. One night, Jack unexpectedly finds SuSu practicing late – causing her mother to worry excessively. To fuel SuSu’s passion for the art form, Cheyenne persuades Jack to enroll her in school. After disrupting SuSu’s first class and overwhelming the teacher with excessive requests, Cheyenne decides to personally oversee SuSu’s training. This rigorous instruction aims to both strengthen her artistic belief and enhance her physical abilities.

In the production, SuSu doesn’t get as much screen time as other main characters, but LaMay Zhang’s subtle yet forceful acting makes her a crucial part of the ensemble, providing an authentic portrayal of a young dancer’s viewpoint without being patronizing. Despite her lack of experience, SuSu is initially introduced to formal ballet culture through Cheyenne, a defiant authority figure with incredibly high expectations for technique. Surprisingly, SuSu voices her concerns when Cheyenne’s presence alters the behavior of the other children towards her, but this action only leads to more lessons. To her credit, SuSu asserts herself when necessary, but this stance earns her a reprimand from Cheyenne. In response to SuSu’s suggestion that the “mediocrities” could be friends, Cheyenne quickly points out their flaws, which SuSu had previously overlooked.

From my perspective as a devoted fan, SuSu might not have caught it since she wasn’t paying attention at the time. You see, for her (and us all beginners), understanding what makes something “good” or “bad” can be quite subjective. However, when it comes to ballet, it’s an art that thrives on technique, precision, uniformity, and repetition. Dancers are regularly highlighted when they stumble, their flaws becoming the center of attention in front of the entire company. This creates an additional social pressure for them to correct their mistakes promptly.

Cheyenne quickly points out flaws in others to make herself feel better and boost her drive for success. However, it’s not right for a child who’s eager about joining a ballet school. SuSu finds the situation puzzling, while Cheyenne understands that their relationship is now more of a teacher-student bond, requiring SuSu to call her “Miss Toussaint” from then on.

Cheyenne’s close connections inspire artistic brilliance within her, and when she forms such bonds, as with SuSu and Gael, these relationships grow rapidly. Before long, Cheyenne and Gael progress from dancing together to intimate moments on Jack’s couch, creating a storyline that stretches the boundaries of professionalism and plunges the series into a more comedic realm, veering away from real-world believability.

Cheyenne manages to help Jack overcome his grudge against Gael by appealing to him emotionally, which leaves me questioning their past at MBT. It seems that Jack’s feelings of jealousy and anger towards Gael, who abandoned the company before, are equally matched by his feelings about Gael’s current relationship with Cheyenne, especially since she holds a subordinate position in the hierarchy despite her dominant personality elsewhere. This show delves into questionable ethical territory when it explores a romantic connection between its executive director and one of his dancers.

As a devoted cinephile who adores the grace and passion of live dance performances, I am thrilled to share my perspective on “The Fish” series. This captivating production not only highlights the behind-the-scenes dedication required for each dance creation but also showcases the stunning beauty that unfolds on stage. In the opening scene, we witness dancers meticulously preparing for their day – taping their feet, shaving armpits, and pinning hair – emphasizing the athleticism inherent in this art form. The mouthguard worn by one of the dancers underscores this idea further, as it symbolizes dance as both a sport and an art form, a theme that resonates profoundly throughout the Cheyenne/SuSu narrative.

In episode four titled “The Hiccup,” the dance performance takes center stage in Étoile. A series of scenes transition between Cheyenne and Gael practicing Christopher Wheeldon’s “Bound To,” while Tobias and Gabin (Ivan du Pontavice), known as the rebellious figure of MBT, create a fresh piece. Their choreography serves to deepen these connections, showcasing sensitivity towards Cheyenne and Gael and aggression for Tobias and Gabin. Regrettably, Gabin is a poorly developed character who finds it challenging to contribute significantly to the storyline. He lacks ties to the dance world and isn’t an Étoile at LBN. Despite his athletic abilities, it’s hard to rally support for him when he portrays an unlikable, arrogant antagonist.

I’m thrilled that episode four devotes a good chunk of its airtime to displaying live performances from LBN and MBT’s programs, featuring both established works and new pieces crafted by Marguerite Derricks specifically for the show. Each performance is introduced with on-screen credits detailing the title, conductor, music, and dancers, offering viewers a snippet of the theatrical experience. This way, a large television audience gets to appreciate contemporary ballet numbers like “Bound To” as well as more traditional pieces such as Marius Petipa’s “La Bayadère” and “Black Swan.” The diversity of the performances highlights how these dancers must adapt their bodies for various styles of movement and expression.

As a cinema enthusiast, I’m always meticulous about the performers I choose for my dance routines, and when I saw Cheyenne execute a part I hadn’t envisioned her in, it sent me into a creative whirlwind. The confrontation between Tobias and Cheyenne is an exhilarating spectacle of two unyielding spirits, fueled by their unwavering dedication to their craft. However, the tension dissipates when they both recognize the potential to adapt the choreography to showcase Cheyenne’s unique talents, even though it might bend the rules regarding union regulations for dancers post-performance.

In the play, the Tobias-Cheyenne conflict serves as a clever distraction from Crispin’s actions, building suspense about how the main eco-advocate will respond. The Tobias drama effectively shifts focus away from Crispin, making Cheyenne’s onstage reprimand of him a more shocking and satisfying turn of events. In a cynical speech, Cheyenne laments the decline of arts and the grim future facing upcoming generations, subtly accusing everyone present, particularly the newcomer to the theater, of contributing to this state. This criticism is aimed at undermining the financial support for both companies, but it’s also a trending moment that will resonate with younger audiences, which is the primary goal of this marketing campaign.

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2025-04-24 19:57