Movies

In ‘Étoile,’ details and dialogue drive a ballet-world comedy

BBG News

In the initial scene of “Étoile,” airing Thursdays on Prime Video, Jack McMillan (Luke Kirby), head of Metropolitan Ballet Theater, is seen waiting outside New York’s Film Forum. His expectant gaze is directed towards Geneviève Lavigne (Charlotte Gainsbourg), director of Le Ballet National in Paris. The sign above reads “Frederick Wiseman’s Ballet & Dance,” two real-life documentaries about the dance world by a renowned documentarian. These films, one from 1995 and another from 2009, focus on the American Ballet Theater and the Paris Opera Ballet respectively, institutions whose influence is subtly depicted in this comedy series, created by Amy Sherman-Palladino and Dan Palladino, with a hint of dramatic twists.

As a fervent admirer, I find The Wiseman reference to be a testament to the creators’ thoughtfulness, acknowledging that their work may be scrutinized by those versed in the subject matter and documentary filmmaking. On the other hand, Sherman-Palladino, who has a rich background in dance since her youth, is no stranger to fans as the mastermind behind “Gilmore Girls,” “Bunheads” – both with a focus on dance – and “The Marvelous Mrs. Maisel.” All of these works, like “Étoile,” exude an undeniable theatricality, a deep-seated fascination with performance, and a knack for the rapid-fire dialogue reminiscent of prewar screwball comedy.

This production features dialogues reminiscent of those between Irene Dunne and Cary Grant, or Carole Lombard and John Barrymore, suggesting a scripting style similar to Ben Hecht and Charles MacArthur, or Charles Brackett and Billy Wilder, though not quite at the same level. The unique blend of staged dialogue and on-location filming – in and around New York’s Lincoln Center and the Palais Garnier and Salle Favart in Paris – results in an intriguing piece. Despite its artificial feel, it offers a sense of reality and relatability. Additionally, despite its air of sophistication, it remains corny, sentimental, sweet, and somewhat sexual, yet not overtly so; what truly matters to these characters is their work.

Yanic Truesdale portrays Raphael, while Charlotte Gainsbourg assumes the role of Geneviève, who is the head of Le Ballet National (as captured by Philippe Antonello for Prime).

Luke Kirby stars as Jack, the head of Metropolitan Ballet Theater. (Philippe Antonello / Prime)

Genevieve suggests a collaboration between her company and Jack’s to tackle common issues such as aging audiences, sluggish post-pandemic ticket sales, and cultural obsolescence. This partnership would involve exchanging top artists, creating buzz and interest on both sides of the ocean. The expenses for this venture will be covered by Crispin Shamblee, a wealthy ballet enthusiast whom Jack views as a villain. Despite his posh demeanor, he’s also an arms manufacturer who gave the eulogy at Rush Limbaugh’s funeral. He will play an unpredictable and comical role in the events, appearing and disappearing as needed.

Mishi Duplessis (Taïs Vinolo), previously with the ballet school in Paris and daughter of a French cultural minister, is now returning to France against her will, as she’s risen to become a featured soloist in New York. This move displeases not only herself but also other ballerinas who view her as a “nepotism baby,” even though they may struggle to pronounce the term correctly. Meanwhile, Tobias Bell (Gideon Glick), portrayed as a groundbreaking choreographer, is another character traded from New York to Paris. The audience is expected to accept him as a genius, and Glick delivers his eccentricity subtly and curiously, suggesting that the world around him seems out of alignment to him, if he even fully comprehends it. Additionally, there are characters similar to Rosencrantz and Guildenstern, who quickly vanish from the scene once their minor roles have served their purpose.

Television

Amy Sherman-Palladino and Dan Palladino return with a fresh Prime Video series, showcasing their passion for ballet as the main focus.

Cheyenne Toussaint, Paris’s renowned ballerina, played by Lou de Laâge, heads west to Manhattan. Previously, she made waves in New York as a guest artist, and there seems to be some lingering, subtly romantic tension with Jack (similar to Geneviève). In the narrative’s opening scenes, Cheyenne is portrayed as an eco-warrior, battling an illegal fishing vessel on a stormy sea, only to get arrested herself. Her intensity, which at times blurs into anger, has comic undertones, but de Laâge delivers a committed and passionate performance. She moves with the grace of a dancer (although another performer stands in for her during dance sequences), and convincingly embodies the character as described by the show. Whether real-life ballerinas are as serious, demanding, and socially ruthless as this character remains uncertain, but this is a work of fiction for television.

As a devoted admirer, I’d express it like this: “Étoile” isn’t heavy on traditional storyline progression, instead it subtly weaves multiple narrative threads that delve into various characters’ lives and predicaments. These stories may not directly tie into the show’s overarching theme, but they add depth and richness to the series. The plot unfolds organically, without rushing towards a definitive resolution at the end of the first season. However, as the story reaches its climax, new storylines emerge, leaving us eagerly anticipating a second season.

In a serial comprising eight episodes, it’s almost inevitable to encounter digressions, but this show is still more captivating for its intricate details and performances rather than the fortune of businesses or dance’s destiny. The various threads, subplots, and mini-stories featuring dancers, assistants, technicians, and politicians are not all equally engaging; however, they collectively weave an appealing fabric, with the most compelling being the dynamic between Mishi and Bruna (played by Marie Berto), Cheyenne’s formidable mother. Bruna, who is characterized by her forceful mannerisms, becomes Mishi’s roommate in one of the storylines.

I initially became aware of Kirby from the impressive Canadian show “Slings & Arrows,” a comedy centered around Shakespeare that bears resemblance to “Étoile.” He delivered a compelling portrayal of Lenny Bruce in “Maisel.” In this production, Kirby oscillates between frenetic energy and being on edge as Jack; his frequent ascents and descents of stairs serve as a recurring theme. Gainsbourg, dressed minimally yet stylishly in ninja-black attire, embodies a confident and purposeful woman.

I first saw Kirby in the Canadian series “Slings & Arrows,” which is similar to “Étoile.” He was great as Lenny Bruce in “Maisel.” In this role, Kirby switches between being super active and really anxious as Jack; he keeps going up and down stairs a lot. Gainsbourg looks very professional and determined in her simple black ninja outfit.

David Haig often takes credit for some of the funniest lines on the show, as his character is depicted as Jack’s closest friend. Nicholas Leutwylek, a former choreographer and dancer who now uses an electric scooter to get around, reminisces about the past when he was surrounded by drugs like cocaine and Quaaludes. In fact, during his time as a guest artist in Stuttgart, he recalls that the Germans, known for their wild parties, gave him so much chemical substance that he was essentially a car for most of that season – implying that sleep aids are popular among both the young and old here.

Kelly Bishop, known for her roles in “Gilmore” and “Bunheads,” takes on the role of Jack’s mom. David Byrne adds humor with his appearance. Mark Morris, along with other notable figures from the dance world, contribute to the film’s realism. The dancers are skillful, although some of the dances might not be as thrilling as intended. What makes the piece more intriguing is the use of spatial placement of bodies during non-dance scenes, which gives a choreographic feel to everyday conversations.

By the way, did you know that you can stream Wiseman’s films on Kanopy? All you need is a library card (most people have one and they’re free). These films will give you an exclusive peek into an elite sphere, minus the additional humor, but with a lot of built-in drama. I strongly suggest you check them out!

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2025-04-23 22:01

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