Latest news with #LeBalletNational
Sydney Morning Herald
20-05-2025
- Entertainment
- Sydney Morning Herald
From Gilmore Girls to Mrs Maisel: How one woman perfected comfort TV
No one makes TV like Amy Sherman-Palladino. Since the start of the century, she's created warmly welcoming, female-focused series about wonderfully eccentric communities. They have a distinctive look and sound. Whip-smart dialogue is delivered at screwball-comedy speed. Conversations between characters, typically loaded with pop-culture references, bounce back and forth like verbal ping-pong. Episodes are rich with lush colour and distinguished by a shooting style that frequently favours extended, elaborately choreographed camerawork. In her sunny fictional worlds, there are no mutilated bodies, missing children or rampaging creatures. She produces comfort TV of the best kind: not mushy, bland or glib, but happily surprising, like big bowls of festive bonbons. And fun. Chicken-soup-for-the-soul stuff. Loading A writer, producer, director and showrunner who works with her writer-producer-director husband, Daniel Palladino, ASP has given us Gilmore Girls (2000-07); its 2016 sequel Gilmore Girls: A Year in the Life; Bunheads (2012); and her masterwork The Marvelous Mrs Maisel (2017-23). In 2018, with Mrs Maisel, she became the first woman to win Emmys in the comedy writing and directing categories. Now there's Etoile, a culture-clash comedy about a couple of elite ballet companies struggling with rising costs and declining audiences whose managers hatch a scheme to generate publicity and reignite interest in their endangered art form. For one year, the Metropolitan Ballet Theatre in New York, run by Jack McMillan (Luke Kirby, Mrs Maisel's Lenny Bruce) and Le Ballet National in Paris, managed by interim director Geneviève Lavigne (Charlotte Gainsbourg), will swap stars. Famously fiery Parisian etoile (star) Cheyenne Toussaint (Lou de Laâge) will endeavour to put aside her contempt for American food, coffee and culture to headline productions in New York, while young ballerina Mishi Duplessis (Taïs Vinolo) will reluctantly return home to France, miserably clutching a plush toy of a bagel. ASP's series are invariably celebrations of their communities, whether it's the cozy east-coast town of Stars Hollow in Gilmore Girls, the Californian coastal hamlet of Paradise on Bunheads or the Manhattan of Mrs Maisel, with its clubs, theatres, diners and delis. Consistent through them is her fondness for smart, feisty and sometimes spiky female protagonists, as well as an affection for tetchy, formidable older women such as Gilmore Girls' Emily and Bunheads' Fanny (both played by Kelly Bishop). Now comes Bruna (Marie Berto), Cheyenne's mother, a woman of few gruff words who wears a workman's uniform and tinkers with goodness-knows-what in her trash-and-treasure-filled apartment. Ballet also features regularly in ASP's productions: while Etoile focuses on a pair of prestige companies, Bunheads is largely set in a small home-based ballet school, and one of the cornerstones of Stars Hollow is Miss Patty's School of Ballet. Showbiz is in Sherman-Palladino's blood. Her father was a comedian, her mother a dancer and, as a child, she trained as a dancer, recently telling Vanity Fair: 'I stopped dancing the minute I realised somebody was going to actually pay me to do something, and I could have a sandwich'. Etoile demonstrates that she reveres the qualities required to succeed in this sphere: grit, grace, discipline, dedication and endurance. At times, Etoile simply focuses on the extraordinary athleticism and sheer beauty of the bodies in rehearsal and performance. As well, ASP has explained, 'They're an odd, amazing bunch of people'. So, ideal for one of her shows. Her commitment to them extends to the authenticity sought in portraying their world and the attention to detail in evoking it. More than 1000 real-life dancers auditioned to fill roles in the two companies. Constance Devernay, the body double for de Laage, was a principal dancer with the Scottish Ballet for seven years; Vinolo dances with the National Ballet of Canada. Episodes are filled with shots of dancers going about their daily routines: stretching, chatting, napping, scrolling on phones, lacing shoes, bandaging feet. And when it comes to shooting the performances, the camera sits back respectfully, watching in wide shot, the directors understanding that there's no need to try to pump-up the action with fast edits or cuts to close-ups. Loading That laudable effort aside, Etoile – which has been green-lit for a second season – is no Mrs Maisel. It certainly has its charms, predictably to do with snappy dialogue and vibrant characters, as well as the visual pleasures of two photogenic cities. But it can be a bit clunky, lacking the sleek flair of its predecessor, and it's prone to overstatement, particularly in terms of haughty French folk and their disdain for crass Americans. Where Mrs Maisel neatly avoids stereotypes and often surprises with its character developments, Etoile sometimes succumbs to clichés. Although it should be noted that Gainsbourg nails the tough manoeuvre of appearing both frazzled and chic. To its credit, it's not all colour, movement and frisky banter as the series also tackles questions about the uncomfortable union of art and commerce. The talent-swap initiative can only be achieved with funding from flamboyant billionaire Crispin Shamblee (Simon Callow). Described by Jack as 'a right-wing, boot-licking toadie for dictators', he's made much of his fortune from an array of dirty deals. Clearly having a fine time with the role, Callow is allowed to go over-the-top for comic effect. However, his confrontation with Cheyenne is chilling, as is his clear-eyed perception of the ugly realities of the world. Ballet might bring beauty, lift the spirits and allow its practitioners and those watching them to 'play in the clouds', as Cheyenne puts it. But without financial support – sometimes from people such as Shamblee – it might not survive. At its heart, Etoile aims to celebrate ballet and the unifying, uplifting joy it can bring. Sherman-Palladino has said: 'My whole life I've known [that], without ballet, the world is a lesser place'. Similarly, the TV world be poorer without ASP.
The Age
20-05-2025
- Entertainment
- The Age
Etoile review: How Amy Sherman-Palladino became the master of comfort TV
, register or subscribe to save articles for later. Add articles to your saved list and come back to them any time. No one makes TV like Amy Sherman-Palladino. Since the start of the century, she's created warmly welcoming, female-focused series about wonderfully eccentric communities. They have a distinctive look and sound. Whip-smart dialogue is delivered at screwball-comedy speed. Conversations between characters, typically loaded with pop-culture references, bounce back and forth like verbal ping-pong. Episodes are rich with lush colour and distinguished by a shooting style that frequently favours extended, elaborately choreographed camerawork. Rachel Brosnahan stars as Midge Maisel in The Marvelous Mrs. Maisel. In her sunny fictional worlds, there are no mutilated bodies, missing children or rampaging creatures. She produces comfort TV of the best kind: not mushy, bland or glib, but happily surprising, like big bowls of festive bonbons. And fun. Chicken-soup-for-the-soul stuff. Loading A writer, producer, director and showrunner who works with her writer-producer-director husband, Daniel Palladino, ASP has given us Gilmore Girls (2000-07); its 2016 sequel Gilmore Girls: A Year in the Life; Bunheads (2012); and her masterwork The Marvelous Mrs Maisel (2017-23). In 2018, with Mrs Maisel, she became the first woman to win Emmys in the comedy writing and directing categories. Now there's Etoile, a culture-clash comedy about a couple of elite ballet companies struggling with rising costs and declining audiences whose managers hatch a scheme to generate publicity and reignite interest in their endangered art form. For one year, the Metropolitan Ballet Theatre in New York, run by Jack McMillan (Luke Kirby, Mrs Maisel's Lenny Bruce) and Le Ballet National in Paris, managed by interim director Geneviève Lavigne (Charlotte Gainsbourg), will swap stars. Famously fiery Parisian etoile (star) Cheyenne Toussaint (Lou de Laâge) will endeavour to put aside her contempt for American food, coffee and culture to headline productions in New York, while young ballerina Mishi Duplessis (Taïs Vinolo) will reluctantly return home to France, miserably clutching a plush toy of a bagel. Rory (Alexis Bledel) and Lorelai (Lauren Graham) in the fondly remembered Gilmore Girls. Credit: ASP's series are invariably celebrations of their communities, whether it's the cozy east-coast town of Stars Hollow in Gilmore Girls, the Californian coastal hamlet of Paradise on Bunheads or the Manhattan of Mrs Maisel, with its clubs, theatres, diners and delis. Consistent through them is her fondness for smart, feisty and sometimes spiky female protagonists, as well as an affection for tetchy, formidable older women such as Gilmore Girls' Emily and Bunheads' Fanny (both played by Kelly Bishop). Now comes Bruna (Marie Berto), Cheyenne's mother, a woman of few gruff words who wears a workman's uniform and tinkers with goodness-knows-what in her trash-and-treasure-filled apartment. Ballet also features regularly in ASP's productions: while Etoile focuses on a pair of prestige companies, Bunheads is largely set in a small home-based ballet school, and one of the cornerstones of Stars Hollow is Miss Patty's School of Ballet. Showbiz is in Sherman-Palladino's blood. Her father was a comedian, her mother a dancer and, as a child, she trained as a dancer, recently telling Vanity Fair: 'I stopped dancing the minute I realised somebody was going to actually pay me to do something, and I could have a sandwich'. One of the dance scenes – performed by professional ballet dancers – in Etoile. Credit: Philippe Antonello/Prime Video Etoile demonstrates that she reveres the qualities required to succeed in this sphere: grit, grace, discipline, dedication and endurance. At times, Etoile simply focuses on the extraordinary athleticism and sheer beauty of the bodies in rehearsal and performance. As well, ASP has explained, 'They're an odd, amazing bunch of people'. So, ideal for one of her shows. Her commitment to them extends to the authenticity sought in portraying their world and the attention to detail in evoking it. More than 1000 real-life dancers auditioned to fill roles in the two companies. Constance Devernay, the body double for de Laage, was a principal dancer with the Scottish Ballet for seven years; Vinolo dances with the National Ballet of Canada. Episodes are filled with shots of dancers going about their daily routines: stretching, chatting, napping, scrolling on phones, lacing shoes, bandaging feet. And when it comes to shooting the performances, the camera sits back respectfully, watching in wide shot, the directors understanding that there's no need to try to pump-up the action with fast edits or cuts to close-ups. Loading That laudable effort aside, Etoile – which has been green-lit for a second season – is no Mrs Maisel. It certainly has its charms, predictably to do with snappy dialogue and vibrant characters, as well as the visual pleasures of two photogenic cities. But it can be a bit clunky, lacking the sleek flair of its predecessor, and it's prone to overstatement, particularly in terms of haughty French folk and their disdain for crass Americans. Where Mrs Maisel neatly avoids stereotypes and often surprises with its character developments, Etoile sometimes succumbs to clichés. Although it should be noted that Gainsbourg nails the tough manoeuvre of appearing both frazzled and chic. Rachel Brosnahan as Midge Maisel and Luke Kirby, who also stars in Etoile, as Lenny Bruce in The Marvelous Mrs Maisel. To its credit, it's not all colour, movement and frisky banter as the series also tackles questions about the uncomfortable union of art and commerce. The talent-swap initiative can only be achieved with funding from flamboyant billionaire Crispin Shamblee (Simon Callow). Described by Jack as 'a right-wing, boot-licking toadie for dictators', he's made much of his fortune from an array of dirty deals.
The Guardian
24-04-2025
- Entertainment
- The Guardian
Étoile review – a ballet show that's absolutely not on pointe
At first, Étoile looks as if it's shaping up to be Fame in pointe shoes. One character even knowingly quotes the 'This is where you start paying, in sweat' speech. This would be fine – great, even, because who didn't love the quintessential 80s series about the high-energy kids from New York City's High School of the Performing Legwarmers? The problem is that, as the new venture from Gilmore Girls and The Marvelous Mrs Maisel creators Amy Sherman-Palladino and Daniel Palladino progresses, it doesn't seem to be sure what it is. Apart from Whimsical with a capital W, an attitude that rarely works out well for anyone. The setup is simple. Two dance companies – Le Ballet National in Paris and the Metropolitan Ballet Theater in New York City – are struggling after Covid and assorted other modern pressures such as anti-elitist attitudes and everybody's terrible attention spans. So what if they swapped their top dancers and choreographers and launched a huge publicity campaign about it so everyone abandoned YouTube and became interested in ballet instead? The head of the French company, Geneviève (Charlotte Gainsbourg, jarringly unconvincing in her first television role) has already secured funding for the project. All she needs is for her former lover and head of the New York company, Jack (Luke Kirby), to agree, even though the money is coming from a man he despises – arms and chemicals manufacturer Crispin Shamblee (Simon Callow, giving his Four Weddings and a Funeral turn an evil billionaire twist. He's not quite twirling a moustache but it's cringe-inducing nonetheless). But what are peacenik principles when you are a ballet company director who has just had to order ordinary champagne flutes (instead of the preferred etched) for the bar for cost reasons? Jack reluctantly agrees to the swap and they hammer out a deal. 'It must happen! For ballet's sake!' The big draw is star ballerina Cheyenne Toussaint (Lou de Laâge). She is feisty, of course, and an ecowarrior in her spare time. So furieuse about the swap is she that she turns up at Geneviève's office straight from a protest on a fishing boat to tell her so, even though she is in a trawler's jacket and stinks of le poisson! But there is ballet's sake to be considered, so off she must go. In her stead comes Mishi Duplessis (Taïs Vinolo), returning to her native France and the keep of her neglectful parents, one of whom is the minister for culture and delighted to have her back as a ballerina if not as a daughter. Added to the mix is hapless neurotic and choreographer Tobias Bell (Gideon Glick, who provides much of the comedy that works on screen). He is sent from New York to Paris and is paralysed by the lack of Crest toothpaste there, and an unnamed cleaner's unnamed child who practises alone at the Metropolitan at night using videos of classes her mother secretly records during the day. Cheyenne discovers her and a bond is formed, revealing the golden heart under the feisty exterior. Étoile is … fine. It passes the time. But every person seems to be acting in a slightly different show from everyone else, and tonally it falls between any and every possible stool. There is a scattering of jokes per episode but it is not funny enough to be a comedy, not dramatic enough to be a drama (nor, on the basis of a seriously terrible speech Crispin gives to Cheyenne about the need for artists to prevent their humanity 'floating out into the ether', should it go further down this road), or frothy enough to be a soap. Occasionally (see the etched champagne flutes), it seems to be aiming for satire but – perhaps because Sherman-Palladino is a former ballet dancer herself and loves the form – the barbs are blunt. We are clearly meant to root for various characters – especially Cheyenne – but they remain ciphers it is impossible to invest in. De Laâge does a wonderful line in apoplectic fury, but when this is all you do – and when lesser dancers literally cower from you as you march through a studio – it becomes a bit much. And then there are all the bits of bolt-on whimsy, like the bull that is to be used in a production but must not face the principal dancer because of her red costume, which the designer refuses to change. These things strip the show of the easy charm it needs if it is to ape the Palladinos' previous hits. Étoile may be a show about dancers, but it urgently needs to find its feet. Étoile is on Prime Video now
Yahoo
23-04-2025
- Entertainment
- Yahoo
'Étoile' review: The Amy Sherman-Palladino cinematic universe expands with witty, satisfying new ballet show
For fans of the Amy Sherman-Palladino cinematic universe, it's a joyous week with the premiere of Étoile on Prime Video (Thursday, April 24). If you grew up with the Gilmores on Gilmore Girls, threw a temper tantrum (like I did) when Bunheads was cancelled, and then rejoiced when we got to meet Midge in The Marvelous Mrs. Maisel, Étoile is everything you want from the famed TV icon. Starring Maisel alum Luke Kirby, Charlotte Gainsbourg, Lou de Laâge, Ivan du Pontavice, Gideon Glick, Taïs Vinolo, David Alvarez, Simon Callow, David Haig and former Gilmore Girls favourite Yanic Truesdale, Étoile is a unique dramedy all set in the international world of ballet. Taking place in both New York and Paris, really only Sherman-Palladino, who co-created the series with her husband Daniel Palladino, could pull off this lofty setup for a show. The series begins with a young girl, Susu Li (LaMay Zhang), dancing in a dark New York ballet studio, following a video of a class on a phone. We soon find out that she's a self-taught ballerina. Her mom is a cleaner at the Metropolitan Ballet Theater and records classes for her daughter to learn from at the studio at night, while she's working. From there we're in a crowded club with people dancing to music from one the most popular DJs in the country, "Styrofoam Man." Among them are Jack McMillan (Kirby), director of the Metropolitan Ballet Theater, his colleague Nicholas Leutwylek (Haig), and Geneviève Lavigne (Gainsbourg), head of Le Ballet National in Paris, with her coworker Raphaël Marchand (Truesdale). Taking a break from dancing, they transition to a conversation about which classical composer had syphilis. Possibly Schubert, Paganini and Tchaikovsky? The next morning, we learn that the world of ballet is struggling financially and in desperate need to get audiences into the seats, especially since several talented dancers have traded in their pointe shoes to find success dancing in TikTok videos. But Geneviève proposes a idea, a talent swap between the New York and Paris companies, bringing on the wealthy Crispin Shamblee (Callow) to foot the bill, to reinvigorate the world of ballet. The first problem is that Crispin is a massive enemy for Jack, who wants absolutely nothing to do with him. But Jack recognizes that there are limited options available to save his ballet company, even though Jack as turned down several of Crispin's propositions for additional funds in the past. Included in the talent swap is the star of the Paris ballet Cheyenne Toussaint (de Laâge). Additionally, Mishi Duplessis (Vinolo) will go to Paris, who initially went to New York after being kicked out of Le Ballet National program. And famed choreographer Tobias Bell (Glick) joins Mishi in her move to Paris. From there, these dancers are navigating their new realities in their new locations, while Jack and Geneviève just try to keep their operations afloat. There's something magical about Sherman-Palladino projects. Yes, the dialogue is quick and witty, with perfectly placed pop culture references, but each character is so unique and we're introduced to them in such impactful ways. For example, in Étoile, in just mere moments of Cheyenne's introduction, you're hooked. You want to know her story and you're incredibly invested in her journey. And quite spectacularly, that's the case with several characters in this show. They have serious flaws, but each character is unique and endearing, or curious, in their own way. It's from there that everything hits harder. The emotional moments feel more poignant, the humour feels funnier and you're truly immersed in this world. That's not to say that every character is equally as fleshed out, there are many that feel like they deserve more time to really learn about, and care about, but that's what second seasons are for. There's certainly a lot going on in Étoile, a number of different characters and storylines intersecting at different moments, and in different countries, but if you're a fan of Sherman-Palladino's previous work, you likely enjoy watching a show that operates in a frenzy. While stylistically Sherman-Palladino has a unique voice, that doesn't mean the story of Étoile is predictable. There are several surprises to keep you on your toes, which feel particularly satisfying. From the dance perspective, it's exquisite, and you can sense that Sherman-Palladino is someone who grew up in a dance studio. And not just from the dancing, it's the details of what the dancers in the background are doing in the hallways, or as they're getting ready for their next ballet class. Marguerite Derricks is a legend in the ballet world and the choreography in Étoile is brilliantly curated for the story. Because we all love the talents from Gilmore Girls, Bunheads and The Marvelous Mrs. Maisel, there are a lot of familiar faces in Étoile, including Kelly Bishop who plays Jack's mother. While we won't spoil it entirely, we'll tease that there's also a cameo later in the season that will make Broadway lovers particularly excited. Étoile is wacky, chaotic and sarcastic, in the best way, and there is a lot to love. I just hope there's a second season to explore this world even more.
Yahoo
23-04-2025
- Entertainment
- Yahoo
'Étoile' review: The Amy Sherman-Palladino Multiverse expands with witty, satisfying and ballet-filled show
For fans of the Amy Sherman-Palladino Multiverse, it's a joyous week with the premiere of Étoile on Prime Video (Thursday, April 24). If you grew up with the Gilmores on Gilmore Girls, threw a temper tantrum (like I did) when Bunheads was cancelled, and then rejoiced when we got to meet Midge in The Marvelous Mrs. Maisel, Étoile is everything you want from the famed TV icon. Starring Maisel alum Luke Kirby, Charlotte Gainsbourg, Lou de Laâge, Ivan du Pontavice, Gideon Glick, Taïs Vinolo, David Alvarez, Simon Callow, David Haig and former Gilmore Girls favourite Yanic Truesdale, Étoile is a unique dramedy all set in the international world of ballet. Taking place in both New York and Paris, really only Sherman-Palladino, who co-created the series with her husband Daniel Palladino, could pull off this lofty setup for a show. The series begins with a young girl, Susu Li (LaMay Zhang), dancing in a dark New York ballet studio, following a video of a class on a phone. We soon find out that she's a self-taught ballerina. Her mom is a cleaner at the Metropolitan Ballet Theater and records classes for her daughter to learn from at the studio at night, while she's working. From there we're in a crowded club with people dancing to music from one the most popular DJs in the country, "Styrofoam Man." Among them are Jack McMillan (Kirby), director of the Metropolitan Ballet Theater, his colleague Nicholas Leutwylek (Haig), and Geneviève Lavigne (Gainsbourg), head of Le Ballet National in Paris, with her coworker Raphaël Marchand (Truesdale). Taking a break from dancing, they transition to a conversation about which classical composer had syphilis. Possibly Schubert, Paganini and Tchaikovsky? The next morning, we learn that the world of ballet is struggling financially and in desperate need to get audiences into the seats, especially since several talented dancers have traded in their pointe shoes to find success dancing in TikTok videos. But Geneviève proposes a idea, a talent swap between the New York and Paris companies, bringing on the wealthy Crispin Shamblee (Callow) to foot the bill, to reinvigorate the world of ballet. The first problem is that Crispin is a massive enemy for Jack, who wants absolutely nothing to do with him. But Jack recognizes that there are limited options available to save his ballet company, even though Jack as turned down several of Crispin's propositions for additional funds in the past. Included in the talent swap is the star of the Paris ballet Cheyenne Toussaint (de Laâge). Additionally, Mishi Duplessis (Vinolo) will go to Paris, who initially went to New York after being kicked out of Le Ballet National program. And famed choreographer Tobias Bell (Glick) joins Mishi in her move to Paris. From there, these dancers are navigating their new realities in their new locations, while Jack and Geneviève just try to keep their operations afloat. There's something magical about Sherman-Palladino projects. Yes, the dialogue is quick and witty, with perfectly placed pop culture references, but each character is so unique and we're introduced to them in such impactful ways. For example, in Étoile, in just mere moments of Cheyenne's introduction, you're hooked. You want to know her story and you're incredibly invested in her journey. And quite spectacularly, that's the case with several characters in this show. They have serious flaws, but each character is unique and endearing, or curious, in their own way. It's from there that everything hits harder. The emotional moments feel more poignant, the humour feels funnier and you're truly immersed in this world. That's not to say that every character is equally as fleshed out, there are many that feel like they deserve more time to really learn about, and care about, but that's what second seasons are for. There's certainly a lot going on in Étoile, a number of different characters and storylines intersecting at different moments, and in different countries, but if you're a fan of Sherman-Palladino's previous work, you likely enjoy watching a show that operates in a frenzy. While stylistically Sherman-Palladino has a unique voice, that doesn't mean the story of Étoile is predictable. There are several surprises to keep you on your toes, which feel particularly satisfying. From the dance perspective, it's exquisite, and you can sense that Sherman-Palladino is someone who grew up in a dance studio. And not just from the dancing, it's the details of what the dancers in the background are doing in the hallways, or as they're getting ready for their next ballet class. Marguerite Derricks is a legend in the ballet world and the choreography in Étoile is brilliantly curated for the story. Because we all love the talents from Gilmore Girls, Bunheads and The Marvelous Mrs. Maisel, there are a lot of familiar faces in Étoile, including Kelly Bishop who plays Jack's mother. While we won't spoil it entirely, we'll tease that there's also a cameo later in the season that will make Broadway lovers particularly excited. Étoile is wacky, chaotic and sarcastic, in the best way, and there is a lot to love. I just hope there's a second season to explore this world even more.
