Étoile Series-Premiere Recap: Dancer Swap

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Dance is about structure; it’s also about freedom!” The ballet instructor hollers in the studio as a horde of children leap around, making goofy expressions. Jack McMillan (Luke Kirby), the director of New York City’s Metropolitan Ballet Theater (MBT), observes this scene unfold. As the teacher then urges them to “be small,” they all seem to shrink, much like loyal subjects bowing to their king. Just moments later, they rush towards him, tackling poor “Mr. Jack” to the ground.

In the realm of Prime Video’s Étoile, crafted by the brilliant minds behind The Marvelous Mrs. Maisel – Amy Sherman-Palladino and Daniel Palladino – I found a captivating glimpse into the intricate world of ballet. This particular scene in the dance studio encapsulates the core themes that resonate deeply: the delicate dance between creative liberty and rigorous discipline; the subtle erosion of individuality as power figures strive for institutional success; and the crushing weight of managing an artistic organization, which can ultimately bring down its visionaries.

As a passionate advocate, I’d like to highlight that this scene serves as a link connecting my current role as an étoile (principal dancer) with Amy Sherman-Palladino’s charming and regrettably brief ballet-focused series, “Bunheads.” In “Bunheads,” the talented Sutton Foster portrayed a Vegas showgirl transitioning to teaching young ballet dancers in a peculiar coastal town.

Now, this production doesn’t just transport the narrative to the high-pressure realm of a leading New York City ballet company; it also stretches across the Atlantic, blending a Parisian viewpoint and merging two companies for a daring promotional strategy. This strategy aims not only to save both companies but also to revitalize an art form yearning for a fresh audience.

In many ways, the challenges experienced by fictional ballet companies such as MBT and Paris’ Le Ballet National (LBN) are not exclusive to the dance industry. Traditional audiences and funding sources are dwindling, as digital media dominates younger generations. Furthermore, labor disputes have escalated, and the pandemic has inflicted deep, lasting scars. One of the unique aspects that sets Étoile apart is its portrayal of a ballet company as any other workplace, with an added emphasis on employee nutrition.

In the style of Sherman-Palladino, these workplaces brim with vibrant characters who are deeply committed to their individual beliefs, often leading to conflict that drives the humor. Kirby’s character, Jack, is a tense, wiry man resisting HR training and constantly seeking ways to reduce expenses. In contrast, Geneviève Lavigne (played by Charlotte Gainsbourg) exudes a more laid-back demeanor, yet shares Jack’s concerns about their business and is prepared to make questionable moral decisions for financial security. Their professional dynamics are further complicated due to a past romantic entanglement that led to Geneviève’s divorce; Jack still harbors feelings for her, which he attempted to rekindle on the dance floor of a nightclub, only to be politely rejected by her.

Geneviève presents Jack with a new marketing strategy aimed at re-engaging audiences and introducing fresh performers. She suggests they temporarily exchange their best artists for a year. However, Geneviève is willing to part with her dancers and conductor, whereas Jack resists all of her proposals. These include Mishi Duplessis (Taïs Vinolo), a former student at LBN, and Tobias Bell (Gideon Glick), a renowned choreographer from MBT. Geneviève does not object to most of these ideas, but draws the line when Jack requests LBN’s star dancer, Cheyenne Toussaint (Lou de Laâge). This dancer had a controversial guest appearance at MBT and may have had a romantic past with Jack as well.

Cheyenne is a fiery ecological activist with an aggressive, confrontational attitude. She’s first seen aboard a boat, leading a group of environmentalists engaged in a conflict with illegal fishermen. The tumultuous sea mirrors Cheyenne’s untamed spirit, and her actions put her fellow activists at risk, resulting in her incarceration. Upon learning she was being transferred to MBT, Cheyenne angrily barges into Geneviève’s office, her marine odor immediately striking everyone, adding to the abrasive persona that Lou de Laâge portrays in her role. Among all characters, Cheyenne has the most intriguing past, and brief glimpses of her mother using a homemade toaster and sharing a phone with a neighbor suggest her humble upbringing, which molded her anti-capitalist convictions.

Cheyenne’s political stance sets her at odds with the backer of this project, Crispin Shamblee (Simon Callow), a self-centered individual who views financing art as a means to compensate for the injustices he’s perpetrated to amass his wealth. Despite presenting a charming British facade, Crispin’s demeanor changes significantly when confronted with Jack’s rejection of his past philanthropic efforts. “I’m not accustomed to this,” Crispin says coldly, and Callow skillfully portrays a chilling undertone in Crispin’s genuine admiration for ballet and his ambition to see it flourish. A confrontation between Crispin and Cheyenne takes place on the MBT stage, and all of Crispin’s justifications for funding as atonement become irrelevant when he learns that she had targeted his boat.

Star explores both the artistic and monetary aspects equally, and while the debut episode “The Swap” delves into philosophical discussions about the essence of being an artist, it’s the portrayal of the financial backing behind dance that gives the series depth. The economic hardships faced by the organization serve as the backbone of the storyline, but emphasizing the financial pressures on the dancers adds a personal touch to the narrative, making this seemingly exclusive profession more accessible and understandable.

As a cinema enthusiast, I find myself drawn to stories that delve into the harsh realities of professions, such as ballet dancing, and “Étoile” does just that from the get-go. In the opening scene, we’re introduced to SuSu (LaMay Zhang), a resilient young girl who practices her dance moves in an empty studio at night while her mother cleans. Her mother records classes on their phone because they can’t afford formal enrollment, and SuSu makes do with borrowed pointe shoes left behind.

By the end of the first episode, Cheyenne spots SuSu practicing, and she’s immediately taken by her talent, considering that SuSu hasn’t had much personal coaching. In the second episode, “The Bull,” Cheyenne gifts SuSu a brand new pair of pointe shoes with her name on them. This heartwarming gesture hints at their journey together, reminiscent of the bond in “Bunheads,” as Cheyenne finds purpose and fulfillment by nurturing SuSu’s dreams and helping her reach her full potential.

In “The Swap,” the cost of dance shoes is frequently mentioned, with a significant conversation between two dancers hinting at their contrasting financial backgrounds. One advises the other on removing blood stains from fabric using baking soda or bleach, but when the latter suggests buying new shoes as an easier solution, she reveals that the ordered pair is delayed and not available yet. Although this dialogue can be understood literally, it subtly shows that one dancer has to make extra efforts at home for suitable workwear, while the other can afford to simply purchase a replacement. This theme isn’t exclusive to America; even Parisian dancers are contemplating a strike due to the need to cover their own costs for sewing ribbons onto their toe shoes, as they aren’t reimbursed by their employers.

In the second installment of “Étoile “, the newly traded individuals adjust to their fresh environments, and this episode seems less centered compared to the first. Jack appears rather awkward in a live television discussion regarding the trade, unintentionally expressing an inappropriate infatuation towards his dance partners during the interview. Given his professional standing, it’s challenging to accept that he might have overlooked the importance of maintaining a suitable demeanor on camera.

As I navigate the chaotic world of film production, I find myself entangled in a web of challenges. Losing the cherished actress Cheyenne has left a gaping hole, and dealing with the unyielding Tobias only adds fuel to the fire. The behind-the-scenes drama surrounding an obstinate bull for our upcoming opera is a symbolic representation of Shamblee’s influence, introducing complications that were previously unforeseen.

During a joint press conference between our companies, Shamblee, in a move reminiscent of a supervillain, hijacks the feed to declare his new “Chief of Getting Fun Stuff Done.” He then introduces Pink (or so she claims), whose voice echoes like a familiar melody. By the conference’s end, it’s the bull that steals the show, overshadowing the dance companies and their hard work.

In “The Bull,” Cheyenne’s behavior takes on an exaggerated, almost comical quality. She silences her male dance partners by sharing a chilling tale about her mother murdering a man in the village where she was raised. Dissatisfied with her current companions, Cheyenne seeks out a new partner, enlisting the aid of Didi Conn, best known for her role in “Grease.” She eventually finds one in Gael (David Alvarez), a former MBT dancer who now works on a farm. Despite having no desire to return, Gael is compelled to do so when Cheyenne publicly announces him as her partner during a press conference.

In the second installment, Mishi experiences a significant turning point as it’s unveiled that she’s the offspring of France’s Minister of Culture, who played a crucial role in arranging her return home. This revelation leads to Mishi feeling isolated from both her parents and peers. Her parents are so engrossed in their own lives that they fail to pick up on Mishi’s discomfort with everything about being back home, a sensation that intensifies when she encounters the condescending attitude of her colleagues at work, who view her as an outsider because she was cut and ended up in New York City.

The film “Étoile” is brimming with ballet-themed Easter eggs, such as the replication of Henry Leutwyler’s photograph of a ballet dancer’s feet in the opening credits and the inclusion of a group of real-life professional dancers among the cast. Tiler Peck, who currently holds the title of principal dancer at New York City Ballet, frequently appears as Eva, a ballet company member seeking to return to the stage, and a tangled thought about laundry and military service of BTS members results in a collision of multiple dancers during act two of “Swan Lake“. Additionally, Robbie Fairchild, who was once a principal dancer at New York City Ballet and played Munkustrap in the movie adaptation of “Cats“, also recurs as Larry, the first male dancer to face the anger of the returned Cheyenne.

The first two episodes vividly demonstrate the enthusiasm of the creative team for ballet, notably through the dance scenes which beautifully combine athleticism and emotion characteristic of ballet. These sequences, skillfully crafted by Marguerite Derricks, feature awe-inspiring lifts, bounding leaps, and swift fouetté turns that leave audiences clapping with delight. However, it’s not just the choreographed routines on stage; there are also unexpected dance performances by the characters which add depth to their individual personas.

Displeased with the progress of his choreography, Tobias (standing in for Maxwell Dennis Simoes) ventures onto the street, momentarily halting traffic by executing dance moves reminiscent of “West Side Story” right in the middle of a crosswalk, demonstrating a lack of concern for others. On the other hand, Cheyenne (representing Constance Devernay) expresses her dissatisfaction with being reassigned by improvising within the studio, using her surroundings to convey her dominance over a space while dancing. Amy Sherman-Palladino captures these performances in extended, seamless shots, allowing the audience to fully appreciate the dancers’ fluid movements and the power behind each dance phrase. These dance scenes embody the essence of “Étoile” as an advocate for the art form, with the hope that the show will motivate its viewers to explore professional dance in real life.

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2025-04-24 16:55