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This year there was a decided emphasis on classical music, provided by live musicians. Gibbs contributed an ensemble piece to a rendition of der Rosencavalier Waltz; a haunting duet by Corinne Blum to Beethoven, titled On Two Feet was next, followed by Julia Adams’ Head Shoulders, Knees and Toes to selections from Vivaldi. An Opera Ballet with selections from La Traviata, Marriage of Figaro, Eugene Onegin and The Magic Flute preceded a rendition of Johnny Mercer’s Skylark before Val Caniparoli’s Suite to Handel Music received its local premiere with Peng Yu Chen, Pedro Gamino and Andrew Notarile; they danced in Suite’s premiere with American Repertory Ballet in February. A selection from Cosi Fan Tutte completed the program.

Jenkins Pelaez, his eyes shaded like Harlequin, served as major domo; the style a Ronald Coleman/Charles Boyer vintage savoir faire. Through the program, Pelaez unified diverse material with gestures and slow pirouettes.
 

Jekyns Palaez, Tina Bohnstedt and Travis Walker in Richard Gibbs's Der Rosenkavalier
© Walter Swarthout

Gibbs’ emphasis continues the chamber performance ambience known from dancing with the First Chamber Dance Quartet. It reminded this hoary observer of programs once part of summers’ charms when the late Helena Henderson staged her Sons of Art Series in late July and August in Ross. Eschewing attempts at profundity, the territory was evoked seeing audience members who easily could have attended those rarified selections between the two Henderson hilltop gazebos. English-born Helena was someone speaking with ease about Ralph - Vaughn Williams; Anthony and Hugh - Tudor and Laing; Mim - Marie Rambert and Fred - Ashton. Sophisticated lawn party diversions are not easily achieved; Gibbs’ format comes closest to those summers past; those never enjoying such exposure might easily discount such refinement.

Gibbs moves dancers with ease, punctuates musically with entrances, exits, pauses.. Year one it was Gershwin; song and dance he pairs with naturally. There was a slight Coward touch here, minus the edge; it’s mainly inflection and timing.

Corinne Blum, dancing for the first time in five years, has lost little physical eloquence and elegant extension, though I learned an injury prevents her ever using pointe shoes again. That information helped to comprehend an almost hypnotized focus, Blum guided by Andrew Notarile kept in shadow by the lighting.

Julia Adam’s Head, Shoulders, Knees & Toes used Vivaldi’s vivacious shifts to explore the body parts of Tina Kay Bohnstedt, Cynthia Sheppard, Pedro Gamino and Travis Walker. Bohnstedt, pointe shoe off, wiggled her toes with an inquiring air, a video-like Feldenkreis exercise. Adam’s exploration was as thorough and quirky as the heroine’s nightmare in San Francisco Ballet’s Night; I suspect motherhood provides amazing examples of the developmental discovery process.
 

Tina Bohnstedt, Travis Walker, Pedro Gamino and Cindy Sheppard in Julia Adam's Head, Shoulder, Knees and Toes
© Walter Swarthout

Val Caniparoli’s Suite reflects intensity; this is usual in his works, but working with a trio is a new reflection. Inevitably with two of one gender and one of the other sends that nagging signal to the mind, will there be a contest? The young trio from American Repertory danced persuasively.

Throughout Pelaez and Tina Kay Bohnstedt provided a mature note and a special rapport to an ensemble fusing remarkably well in relatively short rehearsal time. Bohnstedt, when rising to a balance has grace, but also Gibaltar-like strength on that supporting leg. It makes me gasp.

Clearly Gibbs loves to stage these early summer essays on top of his professional responsibilities. He can be counted on bringing a light touch and a perspective refreshingly mild, soft shoe classicism, if you will, that’s lots of fun to watch. I hope this late June event continues another two decades.