“The presence on stage was calm. ... The transitions were effortless. The strength in the tumbling was full, it was controlled, the angles were perfect for direction. They knew exactly where they were going for all their formations. And everything was just right on. You didn’t feel any anxiety watching—it was like music. It was just flowing—it made you want to get up and dance with them, of course.”

“I was dying, like, I needed to be up there, too.”

“Their technique was fabulous. And anytime they were on one leg, they just knew what they were doing.”

“You can tell they take care of their bodies, and they take care of their minds because you can see it in their performance.”

“I really love the innocence and it showed a lot of innocence in a lot of the characters. ... Or the loyalty that was shown, of course, through the husband and the wife, the husband was gone for 18 years—those were very important things to me, just innocence, and the purity of things, and loyalty. And I thought those shone through. And I felt like their dancing was so strong because of probably the confidence that they have and just the spiritual aspect of it.”

“I was thinking, I wanted to tell all my students, all my girls that I have worked with individually, especially to come and see this. ... They don’t get to see that kind of level of dancing—this style is basis of all dancing—you have to know the technique, which they perform the whole time. So it is important and it is so priceless.”

“I am going to recommend it because they need that technicality—this [Shen Yun] is the perfect example, which is education.”

“Any of the talent on stage made me want to work harder for my own talent, ... and become excellent, because this is excellent. And it makes you like want to believe in yourself and achieve heights like that.”