“It’s the best of any technique you could get from a studio, and the best of anything you could get from cultural dance, and the story lines and what they portray with their bodies and movements is unreal.”
“They utilize [the digital backdrop] in a way that makes it look almost 3-D, and you find yourself getting caught up in the screen, as well as what’s happening in front of the screen, and the depth that it creates with the stage. It makes you look at it from a completely different angle aside from just a flat screen.”
“The technical side that goes into [coordinating the dancers with the digital backdrop] is beyond – it’s just, getting all of that and portraying it in a way that doesn’t make the audience feel like it’s a struggle for them is just … it’s easy, and it’s effortless, and it’s beautiful.”
“I find myself, because I have danced, looking at their costumes. As an ex-dancer, that is always something that can hinder your performance or help your performance, and in this, the costumes are actually part of their dance.
“The showmanship and pageantry of their costumes becoming part of their dances is amazing.”
“Everything that they (dancers) do has a reason, and has a purpose that was handed down to them from dynasty to dynasty. Having that as a culture, and as a person of that culture, must be such an amazing experience for these people to dance it, as well as know that they have that.”