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Inside the Ballet World: Real Dancers Reveal Secrets Behind Étoile

BBG News

After Constance Devernay bid farewell to the Scottish National Ballet in 2023, following a remarkable 15-year tenure that included seven years as their top-ranked Principal dancer, she didn’t abandon the dance world. Instead, Devernay embarked on a new journey by joining the cast of Étoile, an engaging eight-episode series immersed in the realm of ballet companies. The creative minds behind this production are Amy Sherman-Palladino and Dan Palladino, renowned for their work on shows like Gilmore Girls and The Marvelous Mrs. Maisel.

In the series that debuted on Amazon Prime Video on April 24, Devernay portrays a character who is both a dancer and stands in for Cheyenne (Lou de Laâge), a fictional ballet prodigy from Paris. When her company swaps stars with a rival to boost ticket sales and audience interest, she moves to New York. Reflecting on the production process, Devernay mentioned that both dancers and actors collaborated extensively with choreographer Marguerite Derricks to ensure a cohesive narrative, regardless of whether it was conveyed through dialogue or dance movements.

The makers of the show emphasize authenticity when depicting dance, which is evident in the series: dancers consistently execute choreography, and they are also shown stretching in hallways and at the barre, as well as supporting each other with lifts during breaks from rehearsals, thereby making the dancing experience feel real on television.

According to Devernay, the dancers participated in a common daily class, hailing from various locations and dance companies. She noted that they shared their experiences with each other. When speaking to TIME, she explained that although it wasn’t like a traditional dance company, in a sense, it wasn’t either, as the dancers themselves formed a ballet company by creating it.

As a passionate film enthusiast and an ardent admirer of ballet, I’ve often pondered about its struggle to establish a significant presence in the broader cultural landscape. This challenge is partly due to deep-rooted systemic issues within the art form that obstruct accessibility and perpetuate stereotypes, overshadowing the fact that being a ballet dancer is both a serious profession and an artistic pursuit. In the pilot episode of Étoile, these concerns are humorously portrayed, offering glimpses into issues such as the supposed “trouble” in ballet due to dwindling audience engagement, dancers being depicted as insatiable eaters, right-wing financiers meddling with programming, and jokes about unions. However, it’s essential to note that in reality, dancers in unionized companies have managed to secure wage increases, safety guidelines, well-being measures, and other workplace protections that enable them to excel at their craft.

The heart of Étoile features two executive directors, one based in New York and another in Paris, as they exchange roles to boost interest in ballet. This exaggerated and imaginative portrayal of ballet is made authentic by the inclusion of genuine dancers who perform in the choreography and serve as backdrop. Many dancers expressed that this was one of their first projects where they felt their profession was respected, particularly through the involvement of professional ballet dancers in the cast. According to Devernay, incorporating real people from the industry into the show is “beautiful” because “that’s what makes it unique, and what makes it genuine and truthful.

Meet the real ballet dancers in Étoile

In the role of choreographer, Derrick assembled approximately 20 dancers for both the Paris and New York branches of the series, a selection process that started conventionally with an open audition. In New York City, there were about a thousand hopeful dancers to choose from, as stated. Instead of inviting dancers directly, Derricks asked for video submissions from interested companies. To create a harmonious look for the two companies, Derrick observed each group in their daily classes. “I’ve attended many ballets, both frequently in Paris and New York,” she mentions, “and I can say that the dancers today are simply exceptional. That was the image we aimed to portray.

Derricks invited Tiler Peck, a leading ballerina from the New York City Ballet, to join the project. Interestingly enough, Derricks was one of Peck’s dance instructors during her childhood years. A few years back, a “face swap experiment” was conducted to test if technology could successfully merge a non-dancer’s face onto a dancer’s body. Later on, Sherman-Palladino created a character for Tiler, a principal dancer in the New York company whose personality contrasts significantly with her own, as Tiler herself mentioned.

In Peck’s view, one distinct aspect of dancing for films contrasts with stage performances, as dancers typically perform individually instead of recording multiple takes. Performing the Black Swan variation from Swan Lake, which Peck describes as her most difficult task in her role as an Étoile, was particularly demanding. “I recall that scene was being filmed around 7:30 in the morning,” she says, “and usually I wouldn’t be performing until it was close to 8:00 pm.

As a movie critic, I found myself transported back to my days as a dancer when Dan Palladino inquired about the ballerina I admired most. Without hesitation, I mentioned Maya Plisetskaya, a renowned figure and principal dancer for the Bolshoi Ballet, whose name graces Cheyenne’s prayers as part of her pre-performance tradition. When I witnessed this tribute in the final cut, I couldn’t help but feel elated: “To see that woven into the narrative, it was clear they held our insights dear and were committed to crafting something authentic.

Peck believes the show might encourage people unfamiliar with ballet to take interest: “I truly hope this becomes an entry point for those unaware of the ballet realm, sparking their curiosity.

Brooklyn Mack, a renowned International Guest Artist, who performed with one of the companies in the show, expresses his admiration for how the creators aimed to make the dancing as genuine as possible in Étoile. “We put in so much effort and training to be capable of what we do,” he notes, mentioning that capturing authenticity can sometimes feel elusive. “Using real dancers was a viable approach, and I’m pleased they were dedicated to that choice.

Dancing for film and stage present unique differences, such as the extended periods of waiting between takes, which can make maintaining muscle warmth tricky. As he explains, “Every part of our bodies is involved, from our fingertips to our toes, and everything needs to be nimble.” Even minor continuity errors can force a restart in the process. “If you’re fatigued, after performing those jumps 50 times, you don’t want to do it again,” he chuckles, acknowledging the challenge.

On a particularly lengthy day of filming, during a scene that might not have made the final cut (several dancers recalled watching only the pilot at their interview time), Mack cherished this experience: “We were on stage with the lights, and various, interesting cameras – some that moved in closer, and then the cameraman on the crane chasing us, trying to keep up.

Taïs Vinolo, who portrays Mishi on the show and hails from Paris but dances in New York, is sent back to her hometown as part of a plot twist. She points out that filming choreography isn’t solely about the dancer’s performance; it relies heavily on the camera. In an email, she compares it to choreographing with the entire production crew present. Vinolo was dancing with the National Ballet of Canada when she got injured, spending most of her days resting and attending physical therapy sessions. When a casting director inquired about auditions, she saw it as an opportunity and decided to give it a try. Moreover, Vinolo admits that she enjoys taking on challenges.

John Lam, having bid adieu to Boston Ballet after two decades, mirrored his sentiment about the extensive work that goes into creating just a tiny part of an episode. As a meticulous artist himself, Lam took delight in observing how every aspect from lighting, sound, and placement was carefully orchestrated.

In his own words, Lam emphasized that his unique perspective as an artist, shaped by his personal experiences, would significantly contribute to the project. He also expressed his belief that highlighting Vietnamese American male dancers is a relatively untouched area, making this opportunity particularly meaningful. Furthermore, he expressed pride in being part of such a diverse group of performers for the show.

He mentions that he cherishes the downtime between filming scenes, as it offers opportunities for dancers to bond and create profound friendships. He explains, “You get to meet everyone at different stages in their careers.” Off-camera, Lam additionally assisted a fellow cast member, LaMay Zhang, who plays ballet student Susu. As they were both Massachusetts residents, Lam provided coaching to Zhang, aiming to ensure that when they arrived on set, we would be focusing on the authentic roots of classical ballet.

Getting the details right

It was crucial for everyone involved that the roots of ballet were accurately portrayed, since previous representations of their profession often fell short. As Unity Phelan, Principal Dancer with New York City Ballet and the character Julie from the show’s New York company, puts it, “It’s something we are passionate about doing, but it’s also our livelihood.

Phelan shares, “In comparison to other productions, particularly since ‘Center Stage’, I’ve typically thought, ‘Nope, not relatable.’ However, several aspects, particularly the camaraderie among dancers such as entering class together, chatting at the barre, and their pets roaming around, seemed very authentic. Yes, some scenes were heightened or over-dramatized, but overall, it felt like a genuine work environment – a sentiment I expressed: ‘This feels like my usual job, only we’re acting.’

Phelan is currently practicing approximately six different ballets daily for the spring season of New York City Ballet, which necessitates maintaining a steady pace. She explains that when it comes to the TV show, we knew that the majority of what we would be filming were brief segments, not exceeding five minutes of choreography in total, which would later be edited down.

Apart from her observations, she pointed out distinctive aspects on the set that mattered. “The dance area boasts a wonderfully springy floor, specifically Marley,” explained Phelan about the stage-built facility. (A sprung floor can help soften impacts from jumps and landings, potentially reducing strain or preventing injuries; Marley is a type of vinyl flooring that offers traction and minimizes slipping.) “They left no stone unturned to ensure the facility not only looked stunning, but was exceptionally practical for dance.

Despite the fact that “Étoile” has been given the go-ahead for Season two, dancers continue to practice in studios or prepare for auditions. Meanwhile, Constance Devernay is set to perform on stage in London during the fall, eagerly anticipating what might transpire with the series next. “I hope it encourages more people to take up dance,” she expresses. “I hope I can contribute and inspire future dancers, the upcoming generation, and anyone else.

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2025-04-25 03:08

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