I entered the Lied Center Friday night with only a vague idea of modern dance, but afterward I would not leave until I had personally shaken David Parsons’ hand. The evening was absolutely breathtaking: It had something to offer to every person in the audience.

David Parsons, a native of Kansas City, Mo., has his own vision for dance. Since founding the Parsons Dance Company in 1987, he has choreographed more than 60 dances. The New York-based company has performed extensively in the United States as well as on many reputable stages throughout the world. Parsons, 47, is one of the popular choreographers in the world.

Friday’s performance included four selections by the Ahn Trio. This Juilliard-trained musical group of three Korean sisters was excellent. The piano, violin and cello trio gave energy to and received it from the dancers. Their ensemble was extremely tight: It seemed as though they played as one person. On one of the pieces by Argentinean composer Astor Piazzolla, their perfection in artistry and style allowed the listener to simply revel in the lush tones.

The choreography of the evening captivated me just as much, if not more, than the actual dancing. “Rise and Fall” has been in the company’s repertoire for a few seasons now. The title of the piece comes from the dancers dancing for a while, getting tired, falling down, and then someone coming to help them up again. What was most intriguing to me, however, was the use of odd numbers. The dance featured seven dancers — four women and three men. There was almost always an odd number of dancers on stage because even during duet dancing, a third person sat on the corner of the stage. This use of space and blocking was particularly effective.

Probably the most memorable event of the evening was “Caught.” This standard of the Parsons Company is a collaboration with lighting designer Howell Binkley. A solo dancer seemingly flew across the stage as a strobe light “caught” him at strategic points. His strength propelled him high above the stage for one pass, and another series was more like a slow motion martial arts flying kick. This display of athleticism and technical ingenuity will continue to stun audiences around the world.

The second act, composed of “Slow Dance” and “Swing Shift,” was accompanied by live music from the Ahn Trio. These two dances were choreographed and put on stage in the 15 days before this season’s tour. This portion of the performance was more lyrical, though it was bursting with energy. The harmony of the music with the dancers created a special exhilaration. Strong directional light, both from above and the side, added another dimension to the visual effect. Though there were portions with difficult, intense choreography, the lyric sections captivated me the most. Two aspects of “Swing Shift” were especially beautiful. One was the grace and flow of pair dancing.

Parsons made common swing dancing moves into an art that was smooth as glass. The most gorgeous moment of the evening was when a single pair of dancers graced a stage that was flooded with directional blue light. The smoothness of movement and elegance of the lifts produced the affect that dancer Katarzyna Skarpetowska was under water. I held my breath as the dancers’ slow movements filled the stage with beauty.

It’s easy to understand why David Parsons is so successful. Though his dances have become more lyrical as he has matured, they still have the zest and spunk which is displayed in his personality. During a question-and-answer session following the performance, one brave soul asked Parsons to reveal his secrets in the making of “Caught.” Parsons slyly responded, “If I told you, I’d have to kill you.”

— Merry Chadwick is a senior at Free State High School.