However, Grupo Corpo, like its name, is decidedly an ensemble troupe, meaning there are no stars, and, unfortunately, nary a one of the 21 dancers was individually highlighted in the program book. And while this practice is surely a democratic one, a number of the hard-working terpsichores should, in this reviewer’s opinion, have been singled out and named. It’s a pity, as well, that no photographs of the entire troupe were approved for publication.

That said, this writer was able to secure a few names, including a trio holding an arabesque, with Vitória Lopes situated between Luan Barcelos and Jonathan de Paula, all proving irrepressible in their commitment to balance, the percussion and trumpets accentuating the stasis of the moment: an oxymoronic notion in theory, but in the flesh, a lively evocation of an earthy Brazil.  

Also creating a lovely tableau were Lucas Saraiva, who was cradling precious cargo, Agatha Faro, in his heavily tattooed arms. Generating another snapshot-worthy pose—one where monikers would have been welcomed - was a couple engaged in a conga-like move with a male soaring behind them in half-twist mode. 

Clad in Freusa Zechmeister’s simple costumes—flared, multi-layered rose-colored skirts and simple cream-colored sleeveless tops for the women, and ruched brown pants and shirts for the men, all added to the “one is all, all for one” quality of the dance—with the performers seeming, at times, as if they were serving a higher power: The power of art.

Unusual lifts, backbends and hyper-articulated feet were peppered throughout the piece, which, at times, could have come out of a 60s movie musical, if, that is, the Bowl were the setting for a sock hop, dance-a-thon or hip-shaking parade of peeps set on having, well, fun, fun, fun.

Yes, there was sexy strutting and shaking, and accentuated dipping with the occasional erotic undertone (a female/female duet), but the dominant factor was more of a Judy (Garland) and Micky (Rooney) “Let’s Put on a Show” feeling, naïve, but with a hyper-knowing, wink-wink quality. 

Of course, the band sounded exceptional, as this is the Latin American music of Venezuelan-born Dudamel, polyrhythmic and brassy stuff that’s in his DNA, as it is, too, with Grupo Corpo, especially in their pliant, syncopated swaggerings, with their interpretation of “Estancia” ending on a life-affirming unison.