If you are a fan of ballet, the new Amazon MGM Studios eight-episode series “Étoile” (which means ‘star’ in French), may or may not enchant you. There’s no doubt the series creators, Amy Sherman-Palladino and Daniel Palladino (“Gilmore Girls,” “The Marvelous Mrs. Maisel”) adore this art form, though the former insists “Etoile” is not a dance show, but a show about dancers.
While the show is not “Black Swan”-like dark or hyper-realistic, it displays an ambivalence about how the artistry emerges as well as its tension with profit, because all the characters are obsessed with ballet, caring and thinking only of their work, with all its accompanying pain and passion.
Rarely has a series been stacked with so many grating, insufferable characters. Consequently, the viewer might not be sure whether it’s ballet that distorts the dancers or vice versa. But the program reminds us that ballet is as much a sport as it is entertainment and a physically demanding one that takes a crushing toll on the body. Yet the artistry retains its transcendent dynamism, as does this flawed series in fits and starts.
First position
The premise is simple. Two dance companies, Le Ballet National in Paris, headed by jarring interim director Genevieve Lavigne (Charlotte Gainsbourg) and Metropolitan Ballet in New York, steered by nervous wreck Jack McMillan (Luke Kirby, Emmy winner as comic Lenny Bruce in “Maisel”), both struggle after the pandemic with sluggish ticket sales and dwindling audiences. They agree to swap their top dancers and choreographers in a huge publicity blitz to induce excitement in both corps. Also, Jack and Genevieve are on-again, off-again former lovers.
As part of the deal, prima (“étoile”) ballerina star Cheyenne Toussaint (Lou de Laâge), an eco-warrior in her leisure time, is sent to Paris to dance, while a promising young French dancer Mishi Duplessis (Tais Vinolo) based in New York and whose mother is Minister of Culture, returns home.
Hot, but socially inept, neurotic, and coded-as-autistic choreographer Tobias Bell (Gideon Glick) is included in the package, shipped out against his will, without his beloved Crest toothpaste (I’m not making this up) even as he vexes his new Parisian colleagues, all except ambitious young corps de ballet dancer Gabin (Ivan du Pontavice).
And who is financing this trans-Atlantic project, but villain billionaire arms and chemicals manufacturer – and probable war criminal – Crispin Shamblee (gay actor/director Simon Callow) but this ruthless monster (whom Jack calls the Devil) also has studied and worships ballet. He delivered the eulogy at Rush Limbaugh’s funeral.
Wordy, whimsy
There are too many subordinate characters for whom the show fails to do justice, with intermittent cameo guests, such as Jonathan Groff and David Byrne. At times the characters seem at cross-purposes, probably because like the series, they are experiencing an identity crisis (it’s neither a comedy or a drama), which might also explain why they struggle to communicate with each other.
“Étoile” wants to be whimsical, but you can’t really root for most of these obnoxious characters, who constantly seem to be yelling at each other. Also, the New York chapters are more captivating than the Parisian ones. Fortunately, the two gay characters, Tobias and Gabin, are probably the most likable, but their union doesn’t emerge until the final two episodes.
Yet for all its shortcomings, the series isn’t a mess, primarily due to the dancing, of which there’s not enough. But when they do materialize, it’s glorious and the show’s ace card.
Sherman-Palladino’s stroke of genius was to cast real professional dancers in some of the supporting roles, giving them authenticity amidst some of the absurd plots. In fact, the talented dancing often reveals more about the characters than the wordy scripts.
Choreographer Marguerite Derricks deserves congratulations both for her own innovative ballet creations and snippets from classics like “Swan Lake” and “Romeo and Juliet.” All these performances remind us how thrillingly primal dance can be.
Rapid-fire banter
The other bright spot is Sherman-Pallodino’s signature snappy dialogue, with witty rapid-fire banter between the characters reminiscent of a Preston Sturges movie, with fun, well-placed pop culture references. She excels at developing brash, at times funny (but not enough) women, especially the weird complicated asymmetry between mothers and daughters.
The acting is generally commendable. Kirby carries most of the weight with his sardonic, harried charm. Unfortunately, Gainsborough is either miscast or her character is poorly developed, so irritable, the only feeling or emotion conveyed is being frazzled or pissed at the world. There’s no vulnerability displayed, only an unbending toughness that grates on the viewer’s nerves. She lacks any comedic touch, which might soften the character’s cantankerous disposition.
There are two standout performances. Glick stunningly conveys the challenges of being neurodivergent and provides much of the series’ comic strands. His push-and-pull chemistry with du Pontavice alternating between closeness and aloofness is spot on the mark, so when they mesh romantically, it’s the emotional climax of the series.
De Laâge’s Cheyenne is tour-de-force acting. She’s abrasive and petulant, driving away everyone in her furious path, but you can’t take your eyes off her, as she steals every scene, no matter how outrageous, including one bit where she literally gives a lecture to Jack’s groin.
Later, when you realize how emotionally damaged she is, you ache for her. One of the characters flatters Cheyenne, “To watch you dance is like dying and finding out there actually is a heaven,” and de Laâge makes you believe every word of that assessment is true.
And then there’s that other scene stealer, the great Simon Callow, playing a control freak who even manages to draw laughs from almost unspeakable crimes. Yet his saving grace is his compulsion to save ballet. Some of his scenes are cringe-worthy, but you wind up forgiving him anyway. Callow recognizes the campy elements here and runs with them.
We are left with an intense, exhausting show due to its almost too-fast-pace. Still, there’s an undeniable boldness and creative energy that keeps you rooting for its success. Sherman-Palladino has a two-year contract with Amazon/MGM, so there’ll be a second season.
With some rewriting and editing, especially refining some of the disagreeable elements and perhaps a willingness to take some more original narrative risks, a hit show is lurking underneath the surface. Let’s hope Sherman-Palladino can find it, and rescue not only ballet but the series itself.
https://www.amazon.com/Etoile-Season-1
