You know when you go into something with low expectations, and then it turns out to be the best thing EVER? Yeah, that.

I've not previously seen myself as a fantasy fan, and when I arrived at the Gulbenkian Theatre for The Five and the Prophecy of Prana on Sunday afternoon, I'm ashamed to admit that a quick scan through the cartoonish, larger-than-life story outlined in the programme left me thinking: 'Let's hope this moves along quickly.'

I'd spoken with Boy Blue Entertainment co-founder and choreographer Kenrick Sandy beforehand about the show's concept - a piece of dance theatre set in Tokyo, fusing a Manga-inspired storyline with martial arts and hip hop - and I was well convinced of the passion and street rawness of the vision he expressed, plus the hip hop dancing was a big hook for me. But, while impressed by the creativity and innovation of the idea, I expected the Manga-style animation element would do little for me personally and the martial arts aspect didn't appeal to my tastes. So I thought.

BOOM! I instantaneously re-assessed: this is a hairs-on-the-back-of-your-neck-on-end experience from the second Boy Blue co-founder Mikey Asante's powerful and bass-tastic score assaults your senses. It's compelling high drama from the get-go as the recorded narrative hurls us immediately back into ancient times, where the fast-paced battle between good and evil sets the snowballing scene for the emergence of our rough diamonds, The Five, under the guidance of old master and wounded hero, Wang Tang. Move along quickly it does, aided by superb and atmospheric Japanese-style animations projected onto the huge screen providing the backdrop.

The slow-mo, Matrix-style fight scenes within the first five minutes between a young Wang Tang and his friend-turned-enemy Choo Fang are just jaw-dropping, and the performance's quality, energy and cutting-edge creativity doesn't let up for an instant from beginning to end.

Dialogue is not exchanged aloud between the on-stage performers but is 'dubbed' in English into the soundtrack, whilst the actors expressively and often furiously lip-synch to one another as though speaking in Japanese, which adds to the authentic Manga effect and adds humour in places.

Every performer brings something different and unique to their role and their eye-popping dance moves: not one could be accused of not quite literally throwing everything they've got into what are stand-out performances in each case. Different cast members bring distinctive spins on the choreography, which combines hip hop-style popping and locking with Tai Chi, martial arts and, fleetingly, fast-paced footwork reminiscent of tap.

Even so, the performer I couldn't take my eyes off above all others was the stunning Michele Rhyner - seemingly part-dancer, part-acrobat and part-contortionist - as wicked Soo Lin, the corrupted former Guardian of Prana who becomes the Black Widow nemesis of The Five. Her exquisite performance truly embodies an evil sorceress who can wrap her also-outstanding sidekick Choo Fang (Frank Wilson) around her little finger.

A special mention must also go to Frankie Johnson as leader of the The Five, Stylouse, who moves at the speed of light and drives the story towards its cliff-hanging climax.

The Five is left wide open for a sequel that I desperately hope they will make. I will be the first in line for tickets to that and to any other Boy Blue Entertainment production from here on.

Joanna Roberts

The Five and the Prophecy of Prana by Boy Blue Entertainment was at Canterbury's Gulbenkian Theatre on Saturday, November 1 and Sunday, November 2. For further tour dates and more information on the show, visit

www.thefivetour.co.uk