In a testament to its continuing popularity, B'Yachad's annual Standing O! packed the Shapiro Campus Center Theater Saturday night despite the evening's tempestuous weather forecast. The show combined the dancing and singing skills of B'Yachad, Hooked on Tap, Adagio, Starving Artists, Jewish Fella A Capella and Boston University's Israeli dance troupe, Kalaniot. With a variety of diverse and very memorable dances, the show emphasized the grace and beauty of the human form. The costumes used in nearly every segment were gorgeous, matching perfectly the style of each number.

The second piece was one of the show's highlights. Here, members of Adagio moved fluidly to the liturgical "Hallelujah," evoking a vision of dancers frolicking in fields. The simple and flowing costumes contributed to the tranquil, rustic atmosphere, which worked wonders. As a result, the audience saw past the usual razzle-dazzle of distracting dance costumes and instead focused on the skills of the dancers themselves.

In direct contrast to that piece were more folksy numbers, such as B'Yachad's "Darbashiya." With its vibrant costumes, the number was punctuated by astoundingly high and frequent kicks that emphasized the flexibility and excellent coordination of the dancers.

Two a cappella groups provided a break halfway through the show, crafting beautiful music through singing just as the other groups had done with their bodies. In Starving Artists' opening number-their strongest-Julie Albert '08 belted out "Oh Darling" with undeniable confidence, backed up by a subtle but well-done underscore from the members. Later, Jewish Fella A Cappella kept the show's Jewish theme intact, presenting the classic "Shalom Aleynu" and a newly-arranged "L'Cha Dodi."

Kalaniot proved a worthy complement to B'Yachad with the astounding "Hatof," in which spectacularly, the male dancers lifted their partners onto their shoulders with apparently little effort. It added a pronounced flair to the delightful traditional Israeli dance and helped to make the number completely enthralling.

Hooked On Tap's performance was a welcome departure from the dance ensembles, featuring the aural accompaniment of its foot-stomping rhythms to distinguish its accuracy in keeping time to the music. A dance to "Renegades of Funk" stood in a class of its own, with especially strong costumes complete with rippled black t-shirts. The fast and furious beat had me tapping in my seat right along with the dancers.

B'Yachad closed the showcase with a bang, using high kicks and handstands synchronized with its final number, "Hazmanim HaMishtanim." The audience greatly appreciated the performers' versatility here, and the unique dance form that B'Yachad brought to the stage. The visual beauty of the evening's costumes, combined with the versatility of the dancing, spoke to the human body's potential. As such, the show seemed a blur, grabbing audience members and whisking them along for a thrilling ride.