“It’s a fantastic performance, colourful, skillful, the acrobats, the whole presentation has been wonderful, and it’s good to see the revival of classical Chinese dance—that is not lost forever—and it’s alive and well here at the Capitol Theatre,” Mr. Latham said.

Mr. Latham, who serves as an elected official in the New South Wales state parliament’s Legislative Council, attended Shen Yun’s opening night with his partner, Nathalie Matthews, at Sydney’s Capitol Theatre on March 8.

“It’s amazing to see how they move from real life to the animation, back from the animation to real life; that’s a wonderful skill in itself, so the audience sort of gasps with admiration when that happens,” he said.

Classical Chinese dance is at the heart of Shen Yun, having been refined over thousands of years to become one of the most comprehensive dance systems in the world.

The company states that it showcases China’s 5,000-year-old traditional culture—prior to communism. This was a time when myths and legends, music and art, Buddhist and Daoist philosophies, traditions, and customs were a part of daily life, according to the company.

“The fact that [Shen Yun is performing] here in Sydney—it’s not in Shanghai, not in Beijing, it’s not in any part of China—that’s a sad reflection on a regime that’s lost part of the wonderful classical culture of their own people,” he said, adding that he was pleased to see that the oppression of communism has not destroyed classical Chinese dance.

“It’s a wonderful service you’re doing for the global community, so I hope you keep it up,” Mr. Latham said.

“It’s an honour, it’s a privilege to be here in Sydney enjoying it.”

“It’s got something for everyone,“ Ms. Pace said, commending the athleticism of the dancers. ”I think it would be a great opportunity for anyone to come and see,” she added.

According to Shen Yun, classical Chinese dance is incredibly expressive and athletic and has been refined over thousands of years, serving as a way to pass down culture over the generations—it also inspired the origins of ballet.

Classical Chinese dance involves systematic training in distinct postures and “bearing,” allowing dancers to bring out inner feelings through the dance form’s way of moving. It also includes flips, spins, and aerial and tumbling techniques brought to bear to perform stories from ancient and modern China.

“Having such variety between all of the acts. It’s just amazing to see. You can see how much work they’ve put into each performance, and they’re just beautiful to watch on stage,” Ms. Pace said.

“It’s so fascinating, particularly being a Caucasian person myself; I haven’t had so much exposure to it, so seeing the way that they dance and the way they move and having that cultural impact, even up to the costumes and the music, it’s just beautiful.”

“That’s a very interesting, very brave statement,” Mr. Flint said after watching Shen Yun on March 8.

According to its website, Shen Yun brings “authentic Chinese culture back to the world stage.”

The performance includes dance stories that depict the “lived experiences of countless people in China today” who live under the tyranny of communism, according to the program.

Among its dance stories, two pieces depict the persecution of Falun Dafa (Falun Gong), a spiritual practice steeped in Buddhist tradition, whose adherents strive to live by the principles of truthfulness, compassion, and forbearance, and practice mediation exercises.

Mr. Flint, who has long been a vocal critic of the CCP’s persecution of Falun Dafa, recalled when practitioners in China first tried to clarify the truth in the face of slanderous propaganda before the turn of the century.

He noted that the regime “obviously” feared the popularity of the spiritual practice, which it saw as “attracting too many people.”

Mr. Flint said that he attends Shen Yun every year. The company presents an all-new programme, with new choreography and music for each tour.

“It’s a wonderful event. Wonderful event,” he said.