The Karate Kid - The Musical
- Grace Robinson
- 9 minutes ago
- 2 min read
Robert Mark Kamen (book and original 1984 movie), Drew Gasparini (music & lyrics).
Naoya Kinoshita, Kumiko Yoshii, John Gore, Kenny Wax, Michael Wolk, Jack Lane and Leo Stages
Palace Theatre, Manchester
May 12-23, 2026; 2 hrs 30 mins
(also at Leeds Grand, May 26-30; Liverpool Empire, June 2-6; Sheffield Lyceum, July 7-11; Sunderland Empire, July 14-18)
The Karate Kid - The Musical is based on the 1984 film franchise and its Cobra Kai spin off. It balances a teenage bullying theme with moments that teach us that karate, like life, isn’t about fighting, but balance, dignity, and respect.
The story focuses on the emotional bond between teenager Daniel Larusso, played enigmatically by Gino Ochello, making his professional debut, and Mr Miyagi, played by consummate professional Adrian Pang. Pang brings Miyagi’s iconic moments - "wax on, wax off" - to life, showing deft comedy and intelligence. His relationship with Ochello is the strongest part of the production, along with his moving WWII tragedy.
The direction (Amon Miyamoto) is serviceable and production values are good. The set (Derek Mclane) moves us seamlessly from apartments to high school and gladiatorial Karate arena, a scene which induced goodhearted audience participation. A Japanese framework of sliding screens provides a canvas for Peter Nigrini’s evocative projections and bold lighting by Bradley King.
But the music, especially in the first half, is cumbersome, with cliche-ridden orchestration and an over-reliance on heavy brass, bass and drum. Gasparini ‘s score is reminiscent of Harold Faltermeyer (Top Gun) in style and 1980s Metallica thrash metal. Over-amplification swamps the vocal line and the lyrics are unremarkable - though the Okinawan scale and Taiko drum motifs give relief.
The dance and fight choreography is slick and I liked the blending of Japanese-inspired movement to contrast the masculine, contemporary style.
The second half gets into its stride, leaning into its narrative arc, with meaningful performances by Abigail Amin as Ali, Sharon Sexton as Lucille LaRusso and Matt Mills as the menacing but one-dimensionally written Cobra Kai, John Kreese.
I had the delight of sitting next to five-year-old Reuben - a recent Karate Kid film fan - and his dad (a
1980s fan). They had a great time, Reuben declaring "they’re alive" as the show began and loving sharing the experience with his father.
There is nothing more positive than seeing children enjoy live theatre, and many were afterwards trying out their karate moves on unsuspecting adults. The inspirational message of the Karate Kid is as vital today as it was in 1980.
As a show it is unremarkable, but it’s a heart-warming night out with a strong male role model. It’s worth the trip to the Palace Theatre - and well worth it for the resulting thumbs-up of youngsters in the audience.
More info and tickets here
