Although not all of the album’s music was performed, the dance was bookended by the title track, with the troupe making more entrances and exits than at Grand Central Station, if, that is, Big Apple travelers could march, vault and execute pelvic bumps in a lockstep Can-Can. Spooling into, “With A Little Help from My Friends,” the movers certainly received aid and support—from each other, and also from the well-oiled music machine, including crack trombonist Jacob Garchik, as the performers became a swaggering, hip-swiveling entity.

And who knew that the jaunty—yet still emotional—“When I’m Sixty-Four,” could also be a look back at the past, when Beatlemaniacs were trying to imagine that dreaded bugaboo—aging. The tune, also a nod to lovers, family and friends, with same sex partnering abounding (hello, Lesley Garrison and Nicole Sabella!), supplied the impetus for the madcap choreography that also featured bits of the Charleston and Irish step dancing: pranksters all.

Of course, adding to the whirlpool of nostalgia were Elizabeth Kurtzman’s divine costumes, the 16-member cast of Mods and Rockers awash in screaming neons: Orange, purple, turquoise, yellow and the like—the palette from the album—and whether in tight-fitting pants, tops or jackets that were mixed and matched with patterned coats and vests, the stage, at times, was so bright (Nick Kolin’s lighting design, which ranged from rainbow-like to muted blues), that the dancers, including Noah Vinson, Laurel Lynch, Brandon Randolph and Billy Smith, occasionally sported aviator shades.

Vinson was also seen as the lotus-sitting yogini at the center of “Within You Without You,” the George Harrison number that had been informed by classical Indian ragas, as Morris, himself, had been a devotee of Indian dance. Also suffused with a bit of Lou Harrison, the late composer with whom the choreographer had often worked, the arrangement featured the enticing rhythms of percussionist Vinnie Sperrazza, while company members, adorned in headwraps, turned meditative, at least when not deploying an arabesque here, a one-legged balancing pose there.