Picture: Manuel Harlan
The Karate Kid The Musical was reviewed at Milton Keynes Theatre where it continues until 20 June 2026. The UK tour continues until 1 August 2026.
Star rating: three stars ★ ★ ★ ✩ ✩
The mysticism of East Asia offers an enticing and intriguing backdrop to the drama as The Karate Kid The Musical is unveiled at Milton Keynes Theatre. A commanding opening scene captivates thanks to the excellent Adrian Pang as janitor-come-martial-arts-teacher Mr Miyagi, who lures the audience into his ancient world of calm, control and balance.
A suitably mysterious and authentic stage set, designed by Derek McLane, helps amplify the mood, with giant Japanese-style sliding panels and moody, subdued lighting (credit on the latter to lighting designer Bradley King). The sweeping cloaks of the dancers follow, and their contemporary flowing and synchronised movement is like liquid on stage. It’s a nice touch, with choreography by Keone and Mari Madrid, but in hindsight this opening sets a high bar.
As anyone who has seen the movie on which this musical (from a book by Robert Mark Kamen) is based will know, young Daniel LaRusso (played by newcomer Gino Ochello) has relocated from New Jersey to the gritty reality of downtown LA with his mum Lucille (commendably portrayed as a very believable down-to-earth mom by Sharon Sexton) in search of new horizons.
The musical does generally follow the pattern of the movie, with Daniel navigating his way amidst the turbulent teenage relationships in his tough, new neighbourhood under the tutelage of Pang, who guides him towards a combative contest in the karate ring.
There’s a definite sense of borrowing from the greats, like West Side Story; instead of street gangs like the Jets and the Sharks, we find the posh Hills crew, which includes Daniel’s love interest Ali, versus the more down at heel Valley kids. But director Amon Miyamoto’s Karate Kid The Musical mixes the atmospheric East Asia with what can feel like a Disney-style teen show. Perhaps this is designed to appeal to a modern, younger audience, but unfortunately the dialogue feels smultchy and almost high school drama club-ish at times.
The insertion of musical and dance numbers feels a bit too slotted in too, jostling for position with the drama, including the rather hurried final fight scenes. Ochello has to do a lot of singing the narrative, meaning he struggles to really get a grip on his character and project it on stage. That’s not to say there are not good performances. Elena Breschi smashes it playing his love interest and ‘it girl’ Ali Mills, stepping into the part for this performance, while Joe Simmons properly swells in the role of Daniel’s love – and fight – rival, Johnny Lawrence
In terms of the score from Drew Gasparini, the number that stood out for me had the most uncomfortable lyrics – the powerful ‘Strike First, Strike Hard, No Mercy’ – with the ensemble playing Cobra Kai’s bullies led by a rather panto-style Matt Mills as John Kreese. Many of the other songs, bar the sassy second half opener ‘Typical Ali Mills’, sadly fade from memory.
It is a show full of promise but not quite delivering a balanced production overall.
Christine Drabwell
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