“I loved it. I thought it was so beautiful—the stories, the costumes, the colors. Learning about the culture was amazing,” said Ms. Weed, who was accompanied by her husband.

She was drawn to the energy exuded by the dancers and was transfixed by the costumes.

“They were so intricate,” she said.

The costuming and choreography impressed Ms. Weed. She mentioned two particular pieces that resonated with her; “Plum Blossom in Spring,” a dance that depicts the bravery of plum blossoms as they face the deep chill at the end of winter, and “Water Sleeves,” where the ladies of the imperial court move gracefully swinging their long sleeves.

These spiritual concepts were epitomized in the mini-dramas “Display of Great Compassion” and “Insanity During the End Days”—dances that left Ms. Weed feeling deeply moved.

“There was like real strength and power without it being overpowering,” Ms. Lunday said, adding that the performance—through its art, music, and dancing—subtly conveyed the essence of their narratives.

“Shen Yun touches your heart and spirit. It penetrates into your real self,” she said.

The colorful and intricately tailored costumes of the dancers caught Ms. Allen’s attention. “The female dancers twirling their skirts left an indelible impression on my senses,” she said.

“I just found the show to be very relaxing and calm,” Ms. Allen said.  You could barely hear the dancers’ feet. “I was expecting a lot of hard landings but it was very, very soft.” The performance left her with a feeling of peace and happiness.

“There was a packed house. There were not many people that worried about the pandemic. I think the camaraderie of people just came together and [they were] really interested in the [performance] itself. There was no worry and I think that’s where we need to get to,” she said.