Ce site Web a des limites de navigation. Il est recommandé d'utiliser un navigateur comme Edge, Chrome, Safari ou Firefox.

Ballet, In Focus

What does it mean to devote your life to dance? Amy Sherman-Palladino and Daniel Palladino’s new streaming series, “Étoile,” which debuted April 24 on Prime Video, attempts to answer this question in a way that resonates with both dancers and general audiences. Not an easy task.

Unity Phelan as Julie in Amy Sherman-Palladino and Daniel Palladino's new series, “Étoile.” Photograph courtesy of Philippe Antonello for Amazon MGM Studios

I had a laundry list of concerns going into my viewing. Would “Étoile” fall victim to the “glass in the pointe shoes” tropes of so many ballet dramas past? Would it focus too heavily on the unhealthy aspects of the art form, as opposed to the ways it is life-affirming for artists and devoted audiences? Or would it go the way of Olympic breaking, distilling down a complex and culturally rich form into something people would feel comfortable openly mocking? 

Despite the many ways ballet has been co-opted and misrepresented in the past, I had faith in Sherman-Palladino, a former dancer who seemed (according to the plethora of advance press) to really care about getting this right. She employed trained ballet dancers—including many big-name stars—to fill out the ranks of the series’ imagined companies, pulled choreography from the ballet canon to feature on the show, and even employed Christopher Wheeldon to choreograph a short new work.   

The storyline also showed promise. The main conflict, two ballet companies struggling to make ends meet, is a real one, but not one that’s been overdone. “Étoile” follows two imagined companies, Metropolitan Ballet Theatre in New York City and Le Ballet National in Paris, as they swap top talent in an attempt to draw in new audiences in both cities. Drama, heartbreak, humor, and great dancing ensue. 

Lou de Laâge as Cheyenne Toussant in “Étoile.” Photograph courtesy of Philippe Antonello for Amazon MGM Studios

Lou de Laâge as Cheyenne Toussant in “Étoile.” Photograph courtesy of Philippe Antonello for Amazon MGM Studios

Although the first episode started slowly and contained just enough in-jokes that I was concerned non-dance audiences would turn it off, I thoroughly fell in love with the show by the end of episode eight. For the general audience, “Étoile” is buoyed by lovable characters, accessible humor, and just enough drama. For dancers, it’s full of delightful Easter eggs, like cameos from a whole slew of recognizable artists, plus the previously referenced in-jokes.

The show was also deeply touching. It contains a wonderful queer love story between eccentric choreographer Tobias Bell (Gideon Glick) and the pompous but lovable Le Ballet National dancer Gabin Roux (Ivan du Pontavice, dance double Arcadian Broad). There’s also the unlikely mentorship that develops between star dancer Cheyenne Toussant (Lou de Laâge, dance double Constance Devernay) and Susu Li (LaMay Zhang), a young dancer who uses MBT’s studios at night to dance along with company classes that her mother, who cleans the dance studios, secretly records.

Gideon Glick as Tobias Bell (left) with Luke Kirby as Jack and dancers Unity Phelan and Robbie Fairchild in “Étoile.” Photograph courtesy of Philippe Antonello for Amazon MGM Studios

Gideon Glick as Tobias Bell (left) with Luke Kirby as Jack and dancers Unity Phelan and Robbie Fairchild in “Étoile.” Photograph courtesy of Philippe Antonello for Amazon MGM Studios

In addition to ballet’s ever-present financial struggle, “Étoile” also focuses on another uncommonly approached issue facing dancers—the surrender of a “normal” life. This relinquishment of standard rites of passage in favor of dance obligations, is something that dancers speak of often. The pain—and pride—of having one’s identity so enmeshed with the art form is real. 

In the show, Mishi Duplessis, a French-born MBT dancer who returns to Paris as part of the swap, feels out of place among her non-dance peers, and Toussant must face the ways her strong drive and artistic intensity, assets in the ballet world, have also pushed others away. 

The ballet world is weird, wacky, and—as Toussant says—culty. Without many adjustments, it provides plenty of fodder for a TV drama. But “Étoile,” in contrast to many other mainstream depictions of ballet, gives a more realistic and nuanced look into this craziness. It shows why dancers choose this art—in all its wholeness.

Sophie Bress

Sophie Bress is an arts and culture journalist and dance critic. She regularly contributes to Dance Magazine and Fjord Review, and has also written for the New York Times, NPR, Observer, Pointe, and more. 

subscribe to the latest in dance

“Uncommonly intelligent, substantial coverage.”

Your weekly source for world-class dance reviews, interviews, articles, and more.

Already a paid subscriber? Login

comments

Ce site est protégé par hCaptcha, et la Politique de confidentialité et les Conditions de service de hCaptcha s’appliquent.

Veuillez noter que les commentaires doivent être approvés avant d'être affichés

Featured

High Notes
REVIEWS | Kris Kosaka

High Notes

Honoring three choreographic greats of the twentieth century, the triple bill for K-Ballet Tokyo’s 2026 Selections hit only the high notes.

Plus
A Tokyo Gala
REVIEWS | Kris Kosaka

A Tokyo Gala

The National Ballet of Japan hosted their annual Ballet Asteras recently, inviting Japanese dancers from around the globe for a special gala of dance. As usual, it also provided an opportunity to preview a wide range of choreography. 

Plus
Suki Schorer, Milonguera
FEATURES | Mindy Aloff

Suki Schorer, Milonguera

When Suki Schorer—since 1998, the occupant of the School of American Ballet (SAB)’s Brown Foundation Senior Faculty Chair—approaches the barre to show a movement detail to a student, or strides to the side of the stage during a rehearsal to get a better perspective on a passage of choreography, she is taking steps on behalf of others.

Plus
Good Subscription Agency