Dance Kaleidoscope artistic director David Hochoy's choreographic vocabulary explicating the divergent qualities of Cole Porter and Duke Ellington converges on P for Playfulness and this splendid current company renders its collective and individual definitions in non-stop, fleet-footed, muscular energy. Since 1997, "Ol' King Cole" has been Hochoy's sterling example of "allowing dancers to shine." During five or six reincarnations, the freshness and innocence remain from Jillian Godwin's flirty opening to George Salinas' gutsy "Anything Goes," through flowingly, glowingly romantic corps transformations, a paradoxical interplay of "It's D'Lovely," a porcelain mannered "Begin the Beguine," a slit-eyed "Wunderbar" waltz and a succession of Billy Rose-like production numbers with unexpected segues made all the more delicious for a summer evening's pleasure with Cheryl Sparks' shimmering, translucent Italian-ice hued costumes and Laura E. Glover's catch-me-if-you-can lighting. "Sophisticated Ellington" (2007) brings attention to minute details with nuanced choreography of bluesy maturity -- they're soliloquies not solos, introspections not duets, and they're leggier, swishier, cameo-like in ember to mauve formalwear. This production is Morgan Williams' farewell to Indianapolis audiences. Watching his growth over the past two years has been a true delight. We wish him well in his return to Chicago to attend Columbia College and look forward to him coming back.