Created by: Amy Sherman-
Palladino
| B |
allet is a fascinating sport. Sitting at the intersection of athleticism and art, it’s one of the most difficult and demanding disciplines—made even more complicated by the fact that the whole point is to make it look effortless. Though there are notable exceptions, many shows like Dance Academy and Bunheads (also created by Amy Sherman-Palladino) use the sport as the backdrop for a coming-of-age story. Étoile, however, takes a different approach by honing in on two world-renowned companies in New York and Paris, which heightens the stakes and puts a fresh twist on the genre. After all, when it’s professional dance you’re talking about, business starts to come into play as well, which muddies the waters further.
Jack (Luke Kirby), the executive director of the New York ballet company, and Geneviève (Charlotte Gainsbourg), the head of the Parisian one, are both feeling the effects of the lacklustre economy—not to mention the pressure from the boards to which they answer, including eccentric and overbearing benefactor Crispin Shamblee (Simon Callow). Desperate to shake things up, the two agree to swap some of their top talent for a year to get people excited about dance and sell more tickets.
Among that talent is fiery activist Cheyenne (Lou de Laâge), France’s most acclaimed dancer, who is not at all thrilled about being shipped off to the US. When she arrives, she rejects every dancer in the company to be her partner in favour of her old flame, Gael (David Alvarez), who is known for flaking and disappointing her. Despite declaring that she hates kids, Cheyenne also takes a liking to a young ballerina named Susu (LaMay Zhang), who has been sneakily borrowing other girls’ shoes and dancing in the studio at night while her mother cleans the building.
Meanwhile, neurotic choreographer (Gideon Glick) has been traded to the City of Lights, where he constantly experiences culture shock, though he finds an unlikely ally (not to mention some palpable chemistry) in Gabin (Ivan du Pontavice), a temperamental and overlooked but hungry dancer. Mishi (Taïs Vinolo) also finds herself back in Paris despite being initially cut from the company and creating a life for herself in New York. Returning to France puts her back in proximity to her wealthy but cold family, causing her to feel invisible and sheltered once more—a conflict that unexpectedly drives her to seek support from Cheyenne’s quirky mother, Bruna (Marie Berto).
One might be worried that Étoile is just Bunheads 2.0, considering its creators and subject matter, but rest assured, it has its own identity and plot. It’s a more adult show, for one, and focuses on an entirely new aspect of ballet. Luckily, it does this while keeping all the things fans have come to love about Sherman-Palladino’s work. There are quick, snappy writing and pop culture references galore, peculiar characters and running gags, and flawed but lovable multidimensional characters. Complex and compelling mother-daughter relationships are still at the forefront with Cheyenne, Bruna, and Mishi—a storyline that beautifully culminates during its finale.
The mentor relationship between Cheyenne and Susu is also a delightful and touching inclusion reminiscent of Michelle and the teen dancers in Bunheads or even Midge and Susie in The Marvelous Mrs. Maisel. Sherman-Palladino has always been masterful at crafting dynamics between women that don’t fit the mould and that we don’t often see in media, so it’s unsurprising that’s one of Étoile’s strongest elements.
Unfortunately, the show’s romance is less strong. The relationship between Cheyenne and Gael is central, but we don’t get enough exploration of their past or a chance to sense much chemistry or longing between them. A twist toward the end of the season that complicates their relationship comes off as random and thrown in, and the surprise element the show seems to be going for only works to its detriment. (The most compelling romance falls to the slow burn will-they, won’t-they between Tobias and Gabin, as it gets more time to breathe.)
Absolutely no disrespect to Bunheads (I still frequently mourn its premature cancellation), but Étoile also has a much larger budget—a fact that immediately shows. For one, the show is actually filmed in both New York City and Paris, which makes the settings feel authentic and living, breathing characters. This translates to the intricate theatres and expansive studios we see as well. The scale is massive, with gorgeous cinematography that immerses you in this world of dance that’s both magical and gritty.
Sherman-Palladino is known for working with the same performers time and time again, with Étoile no exception. I was particularly delighted to see Kelly Bishop and Dakin Matthews in small but notable roles as Jack’s mother and a board member. One standout who gets a larger role is Glick, who effortlessly balances obnoxious arrogance and deep insecurity. He practically vibrates with anxious energy every time he’s onscreen and manages to make a character that could easily be insufferable in lesser hands into one that’s hilarious and strangely endearing. Perhaps it’s an odd comparison, but his performance feels vaguely reminiscent of Jesse Eisenberg’s Oscar-nominated turn in The Social Network.
While Sherman-Palladino is known for casting her favourites in various projects, she also has an eye for discovering lesser-known talent and helping them show the world what they can do, and Étoile achieves that, too. De Laâge is arguably the show’s leading lady, and though she’s acclaimed in French cinema, having already been nominated for two César Awards, if there’s any justice, this show will catapult her to more mainstream international fame. This is a star-making performance, as she perfectly toes the line between strong-willed and vulnerable. Cheyenne is undoubtedly intense, but she doesn’t fall into the easy trappings of the tortured artist stereotype. The depth and natural deadpan humour De Laâge brings to the part—on top of learning English and ballet for it—is truly remarkable.
Newcomer Vinolo also deserves a shoutout, as I found myself getting excited every time she came onscreen. She is like the heart of this show in many ways, and I so hope this acts as a well-deserved breakout role for her.
Étoile is a sharply written and excellently acted show that’s all but guaranteed to satisfy fans of Sherman-Palladino’s trademark style. While the pacing and romances are on the weaker end, the stunning dance numbers and nuanced platonic relationships more than make up for it. There are a lot of characters to keep track of—played by both Sherman-Palladino veterans and exciting newcomers—but for the most part, they are all distinct and earn a chance to shine. It’s a series that feels destined to leap into your heart.
– Courtesy: Collider.com