Movies

Étoile: The Ballet Show That’s a Must-See in a World Gone Mad

BBG News

During the midpoint of the first season of Étoile, a grandiose blend of drama and comedy unfolding within the sphere of high-level ballet, the most exceptional yet tumultuous dancer globally takes advantage of her final bow to speak directly to the audience. “Ladies and gentlemen,” Cheyenne Toussaint (Lou de Laâge) declares, “the arts are fading away. And when art disappears, so does our humanity. This world is a disaster zone. We have nothing positive to offer the generations to come.” Her statement escalates into a harsh critique of Crispin Shamblee (Simon Callow), an eccentric tycoon who supports Cheyenne’s financially struggling company—and whose ruthless businesses have recently led to an environmental catastrophe.

In these turbulent times, even popular television shows known for their comfort are delving into current issues. Premiering April 24 on Amazon Prime Video, the new show “Étoile” is created by Amy Sherman-Palladino, who has previously worked on “Gilmore Girls” and “The Marvelous Mrs. Maisel”. Known for her quick-witted, chatty, and highly referential female-focused shows with an artistic bent, she earlier showcased ballet in the series “Bunheads”. The unique voice behind these titles can be heard clearly in “Étoile”. However, this show also aims to blend escapism with engagement, making it a compelling mix of high art in a world ablaze. This is one of many intriguing contrasts that make this validation of art in a fiery world as captivating and entertaining as it is complex.

The story, titled “Étoile,” revolves around an unconventional partnership that arises in our post-pandemic era. As struggling performing arts institutions strive to fill their seats again, the narrative unfolds with a daring strategy to boost ticket sales: Two renowned ballet companies – one reminiscent of the New York City Ballet and the other of the Paris Opera Ballet – initiate an extraordinary exchange program. This unique collaboration is referred to as a “transatlantic dance duet.” The dance duet serves as the central symbol in a narrative filled with dualities, power struggles, romances, attraction towards opposites, the subtle differences that create divisions between entities on opposite sides of the ocean. Individual talent clashes with collective harmony. Art engages in a contest with commerce; practicality, with idealism; and survival, with perfection.

The narrative unfolds concurrently in New York and Paris, involving ensembles managed by two prominent companies’ directors. Jack McMillan (Luke Kirby, known for his role as Lenny Bruce on Maisel) from the Metropolitan Ballet Theater, a scion of old wealth, juggles negative reviews, allegations of staff misbehavior, and recurring issues with theater patrons stealing champagne glasses. While France provides more structural support for its arts institutions, Le Ballet National’s head, Geneviève Lavigne (Charlotte Gainsbourg), finds herself in a precarious position under the watchful eye of a powerful board. Both figures are prone to putting their foot in it. Additionally, they share a history of romantic entanglement, adding an extra layer of complexity to their relationship.

Among various artistic arenas, Cheyenne stands out as both legendary and enthralling, largely due to De Laâge’s award-worthy portrayal of intense passion. Initially, she appears in New York with a wildness that leads her to discard mediocre dance partners while questioning the worth of her art. In the opening scene, she expresses a desire for a battle and significance. However, it remains unclear if this significance lies within ballet or beyond, in the challenging world outside.

Cheyenne’s path crosses with Crispin, a charming yet sinister businessman who shares an affinity for ballet and perceives both of them as relentless. This equivalence shocks Cheyenne. (She isn’t alone in her criticism; Jack refers to Crispin as a “right-wing, boot-licking toady for dictators.”) While Callow offers comedic relief by concocting elaborate strategies to avoid continuous kidnapping attempts, Crispin also presents a serious issue faced by many real-life arts institutions: accepting funding from morally questionable billionaires (such as the Sacklers) or maintaining integrity and potentially disappearing.

Cheyenne isn’t the only star in this mix; Étoile’s ensemble consists of others as well, such as Tobias Bell (Gideon Glick from The Marvelous Mrs. Maisel), a sensitive and anxious American choreographer whose unconventional approach clashes with traditional French audiences. He forms both a dance partnership and romantic connection with the combative Parisian prima ballerina, Gabin Roux (Ivan du Pontavice). Additionally, Mishi (Taïs Vinolo), a fresh, innocent French dancer who gained fame in New York after being rejected by Geneviève from Le Ballet National, is among those traveling across the Atlantic. She arrives in Paris adorned with NYC souvenirs and carrying a stuffed bagel with cream cheese, showing little enthusiasm for a return that may send her back to self-centered parents who wield significant influence in the French performing arts world, making her vulnerable to accusations of nepotism.

Étoile embodies the signature style of a typical Sherman-Palladino production, making it an enjoyable viewing experience. The dialogue is sharp and witty. It incorporates numerous cultural references; a climate activist similar to Greta Thunberg makes headlines threatening to protest with Mark Ruffalo and Björk (Geneviève: “Not Björk!”). Characters from the Sherman-Palladino universe, such as Yanic Truesdale as Geneviève’s deputy and Kelly Bishop in the distinctively Emily-Gilmore-inspired role of Jack’s mother, reappear. Known for her roles in Lars von Trier’s intense films, Gainsbourg might not have been the first choice to portray a jittery character, but she excels here, managing to be both refined and flustered. The creators’ passion for ballet is evident, as it was in Bunheads, with close-ups of dancers bandaging their sore feet and well-choreographed dance scenes. Cheyenne’s final speech is followed by about 15 minutes of almost continuous dancing—a feat that would be challenging to pull off in today’s era of short-attention-span streaming services in 2025.

The show is undeniably jam-packed, featuring a large cast and numerous plotlines, which often makes it challenging to keep up with less prominent characters, such as the longtime artistic director of the Met, Nicholas (David Haig). A self-taught preteen dancer, Susu (LaMay Zhang), who secretly practices at the studio after hours thanks to her mother, a cleaner there, could have provided an intriguing link to future generations of ballerinas. However, as currently written, she primarily serves to highlight Cheyenne’s nurturing side, which is seldom shown towards adults. The assumption that artists are difficult individuals results in a unique character like Cheyenne but also some stereotypical portrayals. The script presents several romantic connections within the series that either lack chemistry or appear as mere requirements to check off boxes. At times, the balance between light showbiz drama and heavier themes, such as the struggles of the arts community and impending environmental disasters, feels unbalanced.

In times when everyday events seem to shift unexpectedly from lighthearted matters like analyzing a TV show to heavy issues such as the potential expulsion of U.S. citizens, it’s understandable that one might find inconsistency in tone disconcerting. However, during such unpredictable periods, Cheyenne (and the Sherman-Palladinos) rightly emphasize that art holds significance because it showcases humanity at its peak. Étoile, through cameos by artists who span high and low culture, like David Byrne, and nods to renowned filmmaker Frederick Wiseman in a scene set at the Film Forum, not only backs this claim but also serves as an illustration. It’s both enjoyable, albeit sometimes chaotic, evidence in itself.

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2025-04-23 21:07

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