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“In its emotional nakedness, free-associative logic, and frank sensuality, the work of the Israeli-born couple Lee Sher and Saar Harari still bares traces of Ohad Naharin. That’s not a bad model, especially when the movement is so inventive and arresting.” The New Yorker  

“The intense Israeli duo Saar Harari and Lee Sher return to Performance Space 122 with the premiere of “Prima,” a highly physical quartet. Throughout “Prima,” the line between violence and sexuality is cynically blurred, as dancers hold their arms up, as if at gunpoint, or crawl on the floor like strippers.”The NY Times 

“I recommend Prima without reservation to audience members in astonishment of the mechanics of the human body, those struck by things beautiful and mysterious, and anyone in search of a deeply moving theatrical experience transcendent of language. Folks liable to get hung up on narrative and direct intent may want to take a pass, but for anyone else, this modern dance conception makes for a perfect eve” nytheatre.com 

“You wouldn’t want to meet any of them in a dark alley.  In the stark setting of PS122, the four fierce dancers of LeeSaar The Company showed their power and cohesion. Though alone with their demons, in coming together, each of their particular shakes were calmed and their frenzy turned into  powerful smooth movement. They became a force to be reckoned with.” Dance View Times

“LeeSaar’s dances always require unwavering attention, they are

  powerful… Fascinating excursions into territory whose physical and

  emotional atmospheres are a coolly seething whole.”  The NY Timess.

 ”In “Prima,” the edges of violence and sexuality are slid across one another in an often exhilarating display of prowess and prowl.  Hsin-Yi Hsiang opens the work with an arresting solo.  As soon as she begins to undulate, I’m in. Game on.These primas are ripe and ready for the picking.” Culturebot 

 The festivals’ highlights—including the mysteriously moving “Geisha,” by LeeSaar the Company The New Yorker 

“I was amazed at the end of the piece just how sucked in to the drama I had become. I’ve seen a good amount of modern dance but never anything so

 deliberate,passionate and amazing as Leesarr’s Geisha. This is the kind of work that could awaken a love for modern dance.” Oregon Arts & Culture