By Kimberley Spiteri
Department Head | Hair stylist
Photography By Philippe Antonello/Amazon
A ballet themed dramedy set in New York and Paris, Étoile follows the dancers and staff of two world-renowned ballet companies as they embark on a plan to save their beloved institutions. It was created by Amy Sherman-Palladino and Daniel Palladino, the brilliantly creative storytellers behind the likes of The Gilmore Girls, Bunheads and The Marvelous Mrs. Maisel, which I was lucky enough to have been a part of.
We were just about to wrap the final season of Maisel. I was heartbroken, as I wasn’t ready to say goodbye to such an amazing show and the incredible cast and crew, which had become my New York family.
As luck would have it, Amy Sherman-Palladino asked if I’d be interested in coming onboard to Étoile. Honestly, I’d say yes to anything the dynamic Palladino team are a part of. They inspire you to be better, nothing less than excellence. They surround themselves with only the best: directors, writers, cinematographers, set designers, costumers, choreographers, props, VFX, grip and electric, hair and make-up. I was truly honored to be asked.
A large part of my career has been in period pieces, and thinking a break to do a contemporary piece would be a nice break. The joke was on me. It is a Amy Sherman, Dan Palladino show by the way. It would prove to not be that easy. With only the first four episodes in hand, shooting in Paris and New York. Over the course of 10 months, Paris kicking off the portions of episodes. Then New York portions of episodes and then back to Paris to finish the season. Much like shooting a film, with only half the script. This would prove to be a bit of a challenge, of which I was up for a new and exciting challenge. We all know that you’re only as good as the team around you, nevermore could this be truer. I was to have a French crew and American crew, and continuity was going to be one of my biggest hurdles.
Thankfully, my key Weldon Steinke, who is not only a very talented hairdresser, was available and onboard for the adventure. She’s ultra organized and created what would eventually become the bible of continuity photos and notes for both teams, keeping us all on track. Many thanks to Tijen Osman and Emily Rosko, who would round out the American team, bringing their creative talents, as well as organizing and crewing up the rest of the New York team.
The second hurdle; I don’t speak French, and would need to hire a French crew. Thank goodness for Google translate, and our Head of Make-up Patricia Regan, so talented at creating beautiful make-ups. We’d been a team the last three seasons of Maisel, and I was so grateful to team up with her again, and as a dancer, as well I knew a true collaboration would at hand. Her knowledge of dance would prove invaluable. She had previously worked in Paris the first season of Maisel and helped immensely putting me in touch with French hairdressers. Veronique Bosle was soon to come onboard as our Paris hair supervisor, and she put a talented hardworking team together, including Audrey Tavares Leal, Corinne Texier, our core French team, as well as many others, who continuously showed up and showed out. Merci beaucoup.
In researching a contemporary show set in New York and Paris about two ballet companies, it turns out is a lot more than just a bunch of buns. And the show was more than just about ballet. A show within a show—the story.
The Palladinos know exactly what they’re looking for in their characters, and they’re brilliant creators, and amazing storytellers. This is a bit of how our first principal cast look meeting went. It’s a ballet-themed dramedy, following the dancers and staff of two renowned companies that embark on a plan to save their institutions.
Our principal cast would consist of the wildly talented Luke Kirby as Jack McMillian, who should just always effortlessly look ready to step in front of a camera. Charlotte Gainsbourg as Geneviève Lavigne, sharp, witty, just a bit out of sorts, beautifully French. Lou de Laâge, as Cheyenne Toussaint, wildly French Étoile ballerina, reminiscent of Sylvia Guillem, edgy, wild Ivan du Pontavice as Gabin the French bad boy dancer. Gideon Glick as Tobias Bell, our savant choreographer. Simon Callow as Crispin Shamblee, our eccentric tycoon, with a love of the arts. David Alvarez as Gael Rodriguez, an exquisite dancer, tortured with a love-hate relationship of dance. Taïs Vinolo as Mishi Duplessis, our young ballerina, and David Haig, as Nicholas Leutwylek, modeled after American choreographer George Balanchine.
We want it to look real. We want to be able to tell the differences between New York and Paris dancers. Oh, and by the way, we need to double three of our principals, and they need to be exact. It’s going to be great! Now go do what you do. Meeting adjourned.
As we all have dealt with the challenges of weather, different water and seasons, and how all the different elements can affect our hair, and the continuity of it. We tested a few different looks and many different products to find unique looks for each of our actors that would sustain.
Next hurdle, the wigs. Our actors were in dance class and training and would be able to do some parts of the dance piece. Then dance doubles would be needed for the more difficult parts of the pieces, meaning their hair had to be exact, from the beginning, middle, and end of dance. Hair for hair, sweat for sweat, curl for curl, hairlines, exact.
Thankfully, my incredible wigmaker, Stacey Butterworth, wig master extraordinaire, has always made herself available to us even in the most challenging circumstances. Eternally grateful Stacey, they turned out beautiful.
Honestly knowing little about the ballet, I learned so much as I dove in, viewed everything about ballets, and dancers themselves, a crash course of dance, as we were going to create and recreate many of these incredible ballets, on these incredible stages: The Palais Garnier, Lincoln Center Opera, and the New Jersey Performing Arts Center.
In researching these ballets, I was soon to discover that it’s more than just a bun. Should the placement be a high bun, a low bun, a French twist? Should the ears be covered? Is there a part, is the weight distributed correctly, is there headpiece, and is it secure enough to withstand the piece? All of these entities have an effect on the dancer, as well the performance piece. Choreographers as well as the ballet institutions are adamant about how their ballets are presented. The choreography, the costumes, make-up and hair would need to be executed to their standards. Taking notes, there would be similarities and subtle differences between the dances, as well as the companies themselves.
There are the classics, a traditional formal style of ballet that exclusively employ classical ballet technique. Among them are: Swan Lake, The Nutcracker, Don Quixote, and Sleeping Beauty. The romantic ballet was a 19th-century ballet style that emerged as a reaction against the classical ballet era. It emphasized storytelling, shifting the focus from purely technical feats to dramatic narratives and storytelling, including Giselle and Coppelia. The neoclassical, a ballet style that blends classical ballet with modern abstract movements, with a plot form. George Balanchine was known for his neoclassical style, among these: Romeo and Juliet, Serenade, and Jewels. The contemporary combines elements of classical ballet with freer more expressive movements, incorporating modern dance techniques and improvisation. We were to have some new pieces created for the show, choreographed by Christopher Wheeldon and Marguerite Derricks. Alice in Wonderland and MJ are also examples of contemporary ballets.
I developed such love and admiration for the ballet. The dedication of actors, our dancers and our incredible crews. It truly was an extraordinary journey. So grateful for having had the opportunity to have been a small part of this artistic world. I hope we did you justice. •
