Professional dancing is a job that typically has a shorter lifespan than many others due to the physical toll it takes over time. Dancers often reach a point where their bodies can no longer endure the strain. While ballet dancers might last longer thanks to rotating casts for performances, the work remains grueling. Consequently, dancers must be prepared for what they’ll do after leaving the stage. For perfectionist Cheyenne, even a minor slip-up onstage serves as a significant warning about her future. The final episodes of this season explore the potential next phase of Cheyenne’s career and how it might impact the key relationships within the cast.
It transpired that Nicholas didn’t pass away when he fell unconscious, and among all his health issues, the doctor considers this particular one relatively mild. However, Nicholas briefly wakes up to share contraband Smarties with Jack, but soon after, Nicholas’s condition deteriorates rapidly, causing Jack to contemplate who should take over as MBT’s artistic director in his stead. In a moment of indiscretion, Jack shares this predicament with Crispin, who suggests Cheyenne for the role, although it’s more about settling scores than genuine support. This suggestion sets off a chain reaction leading to Cheyenne being offered the job, getting excited about it, and ultimately losing it when Nicholas recovers and maintains his position at MBT.
Over the course of the season, it’s become clear that Cheyenne possesses all the qualities necessary to excel as an artistic director. Her devotion to the art form is unwavering, and she isn’t afraid to express her thoughts on dancers, music, and choreography. In her dealings with SuSu, who has limited appearances in these episodes, Cheyenne demonstrates her exceptional coaching skills. She can be firm when necessary, but she also shows compassion when it’s required, such as when she comforts SuSu before going onstage by praying to the legendary Maya Plisetskaya of the Bolshoi Ballet.
At a press gathering highlighting Cheyenne’s 57 renditions of The Nutcracker, Cheyenne strengthened her position as Nicholas’ successor. Despite initially brushing off questions from spectators, she found empathy for a young girl who regretted leaving ballet to concentrate on academics, a choice that Cheyenne endorsed, viewing it as essential in our world where intelligent women are needed. Cheyenne then began discussing her own love for dance and the importance of art amidst a turbulent world filled with people seeking conflict. For her, dance serves as an outlet to channel negative energy into creating something positive, offering people a reason to cling to optimism. Dance allows her to soar above the chaos and frolic in the skies, inviting the audience to join her on this journey.
Cheyenne’s trip on stage unexpectedly halts her extensive performance schedule, causing a rift between her and Gael as he reprimands her for taking on too much. Their relationship has been growing apart, and it completely collapses when someone from Gael’s past resurfaces. This person is Jack’s sister, Quinn (played by Nina Arianda), a former lover of Gael who was a conductor. He had broken her heart and ended her marriage, leaving her ex-husband with a large fortune since there was no prenuptial agreement. Despite the Fish family’s disapproval, Gael being back at MBT becomes even more enticing due to their disapproval. The strong attraction between Gael and Quinn cannot be denied, leading Gael to end his relationship with Cheyenne as an excuse to reconnect with his old love, Quinn.
In “The Offer,” the events in New York City prompt Cheyenne to head back home. This reunion with Bruna onscreen is a delight for viewers. Upon her arrival, Cheyenne feels a pang of envy towards Bruna and Mishi’s bond, yet it’s evident that Cheyenne was always a free-spirited individual. As they attempt to locate Cheyenne’s father’s grave, mother and daughter address their past issues. They eventually develop a harmonious relationship at the flea market, where they cross paths with Timeo, Mishi’s fisherboy, whom they scold for disappearing on her.
Returning home allows Cheyenne to reassess her life goals, creating a perfect moment for Jack to propose the artistic-director role to her. Although Cheyenne hadn’t imagined herself attending meetings and working in an office before, she feels capable of excelling at the position. She insists that she won’t accept it, but Bruna gives her a sly look, hinting that she knows Cheyenne is trying to deceive herself. The harder Cheyenne resists, the more she realizes her desire for the job, making it even more heartbreaking when the offer is withdrawn.
In “The Slip,” Mishi might perceive herself as an older, uneventful woman, but when she learns about her company considering a strike due to her being a nepotism case receiving the prime roles, she surprisingly reveals her immaturity. Mishi openly opposes the other dancers, particularly targeting her mother who compels her to attend an event celebrating pioneering women. Inebriated by martinis, Mishi climbs atop a chair and delivers an excruciatingly awkward speech, blaming her mother for the women she dislikes in her dance group.
Through excessive pressure on dance from her mother, Mishi found herself lacking friends, hobbies, or social skills. The intensity of her mother’s drunken outbursts escalated, leading Mishi to accuse her mother of possibly orchestrating harm to others and claim she was subjected to sexual harassment by the man who wrote her mother’s book. After a torrent of long-held complaints and drinking martinis, Mishi found solace in Geneviève, a figure resembling a mother, who felt both sympathetic for Mishi and secretly delighted at her mother’s downfall. Unburdening her emotions was cathartic for Mishi, and the universe intervened by rekindling her relationship with Timeo, who made amends for any past mistakes by attending one of her dance performances.
In “The Slip,” we witness a reunion of the original Broadway cast from “Spring Awakening.” Jonathan Groff portrays Tobias’s ex-partner, Kevin, who has moved on significantly since their last communication a year ago. Kevin is not only involved with another man now; he’s engaged, planning a wedding for next June. The scene underscores Tobias’s obliviousness in relationships as he continues to believe they are still together. Despite this misunderstanding, the scene concludes with a hint at the actors’ shared musical theater past, as Kevin, now a flight attendant, informs Tobias that he’s off to Barcelona. With this romantic entanglement now lifted, Tobias can fully explore his feelings for Gabin.
Initially, Tobias faces a setback as Gabin is apprehended for brawling with bullies in his neighborhood, disrupting Tobias’s creative flow. Despite Gabin breaching the contract’s code of conduct, Geneviève feels compelled to reinstate him, as her investment in Tobias demands it. This decision leads to an unconventional outcome when Tobias disrupts a live performance of his new piece, taking over the stage to alter the choreography. Though this act is highly unorthodox, it’s the very essence of what makes live performances thrilling.
In a live theater setting, unexpected incidents might occur, such as audience members capturing Tobias’s emotional breakdown and artistic development on their phones. Seizing this opportunity, Geneviève projects these events onto the new giant digital screen outside the theater, creating an unusual sequence of events that, though seemingly absurd, isn’t entirely unbelievable. The intrigued spectators remain riveted to their seats, eagerly waiting for Tobias’s next move.
Viewers both inside and outside the theater gain a unique insight into the raw energy, power, and athleticism required to create art. Witnessing Tobias’s creative process, fraught with frustration, only serves to heighten their involvement because they can relate to his struggle.
The beauty of art becomes even more captivating when you delve into the creation process behind it. For instance, my admiration for dance performances soared when I started taking dance classes in college because I then grasped the immense difficulty involved in producing those intricate stage images while making it appear effortless. By revealing the labor that goes into ballet dancing and choreography, Étoile encourages its audience to connect with live dance on a more profound level.
Marguerite Derricks is a highly skilled and award-winning choreographer for both stage and screen, having won three Emmys and contributed iconic dance scenes to movies like “Showgirls,” “Austin Powers: International Man of Mystery,” “Spider-Man 3,” among others. Unlike a concert choreographer, she is more focused on commercial work. Her choreography for “Étoile” highlights impressive crowd-pleasing feats of athleticism rather than intricate artistic expression. This approach effectively showcases the spectacle of ballet to audiences unfamiliar with it; however, it makes Tobias’s innovative choreography appear somewhat less complex when he is portrayed as a trailblazer.
The performance Tobias delivers on stage differs significantly from the original solo choreography by Christopher Wheeldon, who was recently appointed as director and choreographer for the upcoming “10 Things I Hate About You” musical adaptation (interestingly, Derricks handled the choreography in the film). In contrast to Tobias’s presentation, Wheeldon’s “I Married Myself,” with live music by Sparks, showcases more delicate, expressive movements to depict internal struggles, and it’s masterfully performed by Constance Devernay. One particularly striking scene involves a sequence of small jumps that convey progression while keeping her stationary, symbolizing the constraints of relying solely on oneself. My personal highlight is this series of petit jetés.
Crispin might gain more influence when organizations are in turmoil, and the conflict over the artistic director position certainly stirs up trouble. Jack and Geneviève’s relationship ends due to her fear of losing her leading role, which was supposed to be temporary. Now, the entire campaign is tense because Cheyenne disagrees with MBT’s artistic director. The most devastating turn of events is the rekindling of Jack and Cheyenne’s relationship, as she turns to her superior for comfort after realizing she can’t open her heart to others. They both understand it’s a poor decision, but they kiss regardless, which will likely provide Crispin with incriminating evidence against them both. As Étoile was given a two-season order from the start, we hope the chaotic consequences won’t take too long to unfold.
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2025-04-26 02:58