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With its colorful, changing panels by the scenery designer Adrianne Lobel; lighting by James F. Ingalls; and flowing, Grecian costumes by Christine Van Loon, “L’Allegro” doesn’t just bring to mind the idea of a moving painting, it continually is one.

Really, though, “L’Allegro” is a group experience, among not just the dancers but also the singers and the orchestra.

As “L’Allegro” builds to its gorgeous finale, the dancers, grasping hands and flashing grateful smiles at one another, run onto the stage in neat, orderly lines and peel away into the wings lost in the rush of the moment.

Doesn’t a line like, “Where brooding Darkness spreads his jealous wings,” from “L’Allegro,” take on new, harrowing meaning?

At a time when melancholy can easily overshadow joy, Morris’s “L’Allegro” is more than an incandescent evening of music and dance.