Lou de Laâge Defied ‘Normal Codes of Seduction’ for Étoile

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Cheyenne Toussaint makes her entrance into the cross-cultural ballet tribute by Amy Sherman-Palladino and Dan Palladino, named Étoile, in a swirl of waves and dirt. Prior to being transferred to New York as part of an audience-drawing deal intended to save dance, the renowned Parisian ballerina portrayed by Lou de Laâge finds herself at odds with ecowarriors, vocalizing her displeasure against illegal fishermen in English, creating a comical image of an angry Frenchwoman. Upon landing, she learns about the Ballet National’s intention to send her to the New York Metropolitan Ballet. With a menacing stride, she storms into the office of its director, Geneviève Lavigne (played by Charlotte Gainsbourg). The director’s facial expressions during their encounter suggest that not only does Cheyenne resemble death, but she also carries an unpleasant odor along with her grim visage.

In the series ‘Étoile‘, Cheyenne’s character is both repelling and captivating, her rough demeanor starkly contrasting with the elegance of her dance performances. Roaming Lincoln Center in a pair of combat boots, Cheyenne expresses herself bluntly, exhausts the male dance partners chosen by NYMB artistic director Jack McMillan (Luke Kirby), and shares a bed with her new collaborator on Jack’s couch. It’s quite a lot for one character to handle, and de Laâge, learning to keep pace with the Palladinos’ signature quick pace in a language not her own, makes Cheyenne impossible to ignore – particularly when, towards the end of the season, she stumbles during the “Dance of the Sugar Plum Fairy” and comes to understand that perhaps she is not flawless.

Cheyenne Toussaint is a character who defies societal norms, showing unwavering determination and deep emotion. She isn’t afraid to stand up for herself, even if it means displeasing others. One aspect I admire about her is her dedication to perfecting her dance skills and gaining respect through her artistry, rather than through social graces or insincere kindnesses. Being around someone like Cheyenne would likely mean having a small circle of friends — which is fortunate! — but I found myself intrigued by the exploration of identity that she presents: Who are we when we strip away politeness and smiles?

How did the auditioning experience unfold for you? Initially, the Palladinos were unknown to me and I was unaware of their popularity. However, when I was selected, I realized they had quite a following. The casting process occurred without my knowledge of English, but I managed to secure a callback. At that point, I thought, They’re bound to find out I don’t speak English and that will be the end of it. Yet, learning a language became significantly more meaningful in this situation, as it was no longer just an academic pursuit, but a necessity for success.

Was it your slightly imperfect English that appealed to Amy and Dan? Indeed, since I learned they were seeking an actress with a French accent during the audition process, I decided to apply in the first place. Otherwise, I wouldn’t have tried out for the role.

How did you prepare for the role linguistically since the dialogues in Palladino’s show move quickly and are either French or English? I worked with a dialogue coach who was instrumental in my preparation. As I quickly discovered, it was essential to collaborate with someone who could communicate everything in English. Kate Wilson, a professor at Julliard, demonstrated remarkable patience during this process. Working with an adult on a language they don’t know requires extensive repetition. I learned that after the age of 2, you stop hearing unnecessary frequencies in your own language, which can limit you because if you can’t hear a sound, reproducing it becomes impossible. The first step is to regain the ability to hear again.

Indeed, the Palladinos’ writing style is quite unique, as it demands not only fluency in English but also a quick wit and a mastery of words. At times, I found myself questioning the meaning of certain expressions. My scene partner, David Alvarez, humorously commented that I was at a disadvantage because I had the most complex lines and my English wasn’t the strongest. It seemed like we were simply repeating lines until we could finally break free from the text. They encouraged us to speak quickly, be overly dramatic, and often sought an almost theatrical interpretation.

What scenes were you finding particularly challenging to perform?

I was worried about not being easily understood due to my accent and speed while speaking in English. In everyday life, I tend to speak slower, so I had to summon a certain energy to keep up the pace. This made me wonder if I would be able to generate the same level of enthusiasm in another language consistently. The scenes that made me feel most apprehensive were those I had prepared diligently beforehand. For instance, recalling the monologue about my mother being a murderer was initially difficult for me because I struggled with articulating the word “murderer” clearly in English.

* It’s quite difficult! She seems to mention it frequently in every conversation. These technical difficulties have left me feeling rather intimidated. However, acting provides a sense of liberation and joy for me. In response to the question, “Are you apprehensive about this scene?”, I replied, “No, I’m anxious about the script. But now, I’m eager to act because it will help me conquer my fears.

Were you curious if there was any deviation from the scripted story in the village tale? Dan and Amy prefer that we stick to the script, and it’s clear why. Their work is like a finely composed piece of music; when we attempt to improvise, it often falls short because it doesn’t fit as seamlessly within their world. Additionally, due to the pace they required, I felt like I was skiing downhill and losing control. I chuckled with Luke at that moment, joking, “Are you guys getting what I’m saying? It feels like I’m talking too fast.” Since Luke had worked with Dan and Amy before, he understood the tempo they desired. He served as a great guide for me to adjust my pace accordingly, saying, “That’s about how far they want us to push it.

What method do you employ to ignite the energy required in situations such as this interview? It’s similar to a regular day, where there are periods of sluggishness, but when it comes to an event like this, we both flip a mental switch to stay alert and engage effectively with our responses. That’s essentially what performance is about. It’s like having an internal toggle that you engage — but once activated, it needs to remain engaged for extended periods, often for hours on end. Afterward, you tend to sleep deeply.

Additionally, it calls for maintaining a rather focused and disciplined demeanor most of the time. At first, I thought, “I’m shooting in New York; there will be plenty of leisure time!” However, reality showed that one is primarily working. A structured routine became necessary.

In the initial episode, there’s a captivating scene where you seem to dance solo in Paris, and it appears as if the shot was taken in one continuous take. However, this is not entirely you, but your dance double, Constance Devernay-Laurence. The question arises: at which moments are we watching you, and at which moments are we watching her? Upon seeing it, I was amazed by how skillfully it was executed. We actually collaborated on the choreography – I learned my part in a more straightforward manner because there were certain moves I couldn’t perform.

How did you get yourself ready for the physical aspect?

I found myself gearing up from head to toe – it was akin to athletic training. As a child and teenager, I used to dance a lot, but I had stopped due to losing interest. Ballet is challenging and rigorous; if you don’t practice daily, you stagnate and it becomes dull. Upon receiving the role, I regretted my decision to stop dancing. I needed to start anew, albeit years later and with a body that had grown older and less flexible. I recalled all the training I underwent, steps that required complete re-learning. I took private lessons from retired dancers who were once part of the Paris Opera and the Royal Ballet in London. Since writers were on strike in the U.S., I had an extended nine months to prepare instead of the usual three.

What led you to stop initially, if you don’t mind me asking? You were more interested in theater, whereas dance seemed to be your mother’s ambition. At some point, a choice had to be made.

In Cheyenne’s situation, it turns out her mother didn’t hold much interest in what she was engaged in throughout the season. This is similar to my experience with theater – as a child, I found something I loved without it being encouraged by my parents. It’s fortunate for me because it’s one of the few aspects of my life where I’ve never had any hesitations.

Did my explanation clarify Cheyenne’s character for you? I encountered young girls who were incredibly passionate about ballet, giving their all to master the art form. Witnessing such dedication and immersion in a single pursuit left an indelible impression on me. There was a certain strength that radiated from them, a trait that Cheyenne also exhibits.

From your question, it seems that Cheyenne’s connection with ballet is complex and perhaps even tumultuous, akin to an intense relationship. Ballet is the essence of her identity – it gives her life purpose, shaped her, and holds a special place in her heart. However, this passion comes at a cost: immense dedication, relentless hard work, and physical pain. This bond can sometimes feel like a burden, yet she feels compelled to continue due to the depth of her commitment. Thus, ballet is both her joy and her challenge.

Cheyenne is nearing an age when you ponder about their future plans – “What will they choose to do and who will they grow into?” It’s intriguing how the show sparked such a question.

Though Cheyenne grapples with her mommy problems, she still pays a visit to her mother after she slips onstage. I found those Paris-shot scenes particularly poignant as they added depth and complexity to her character. As for playing Cheyenne in French, it was initially daunting since I’d spent so much time with her in English. However, switching languages altered both my voice placement and the required energy level. I wasn’t certain how to portray her in French. In scenes involving her mother or Susu, the little girl, Cheyenne transformed from someone constantly embroiled in conflict into a more delicate character.

How did the shooting schedule play out, with us filming in both New York and Paris? When we agreed to do the show, only the first four episodes had been scripted, leaving us unsure about our characters’ fates. We filmed the initial four episodes in Paris while they were still writing those scripts. After that, we moved on to New York for the entire season. Finally, we returned to Paris to wrap up the last four episodes.

What took you by surprise in Cheyenne’s tale was the unexpected twist when she was offered the position of artistic director, as it had the potential to significantly alter her future.

After wrapping up filming in New York, which was the final scene for me, Cheyenne is shown distraught over not landing the artistic director position. It seems she reconciles with Jack afterward. To portray Cheyenne at her most vulnerable, I had to maintain a stronghold during the entire production, only letting go in that crucial moment. Initially, I had to keep a sense of control, but then it was about regressing her back into a childlike state. Instead of weeping like a self-assured woman, I wanted to convey a feeling of helplessness, as if she were saying, “I am worthless, and I may never amount to anything.

Whenever I’m working with Amy, it’s always her knack for filming entire scenes uninterrupted using a Steadicam that truly captivates me. This method of hers allows her to fully grasp the scene’s essence, as many directors often know where they will cut and only focus on those specific moments. However, with Amy, I find myself immersed in a theatrical experience. The unbroken flow gives us ample time to delve into the emotions portrayed, witnessing how they can suddenly snap, then recover, and carry on.

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2025-05-14 02:37