The Karate Kid – The Musical
Milton Keynes Theatre
16th June 2026
Turning a beloved 1980s film into a stage musical is never a straightforward task. Some adaptations discover fresh theatrical life, while others struggle to justify their existence beyond audience nostalgia. The latest experiment in the trend is ‘The Karate Kid: The Musical’, a concept few could claim was being particularly sought after, but we’re always interested in the results. Currently touring the UK and stopping at Milton Keynes Theatre this week, the new musical sits somewhere in the middle of the leaderboard in terms of success and purpose. It is an undeniably polished production with moments of genuine excitement, but it never quite lands the knockout blow it is aiming for.
Based on the iconic 1984 film, the musical follows the familiar story of Daniel LaRusso (played by Gino Ochello), the new kid in town after relocating with his mother Lucille (Sharon Sexton), and who finds himself targeted by local bully Johnny Lawrence (Jos Simmons) and the students of the Cobra Kai dojo over Johnny’s ex-girlfriend Abi (understudied on Press Night by Elena Breschi). Under the guidance of the enigmatic Mr Miyagi (Adrian Pang), Daniel learns that karate is more about self belief than the fighting itself, eventually leading to the climactic All Valley Tournament.
For fans of the movie, there is comfort in how faithfully the musical follows the source material. Written by Robert Mark Kamen (author of the original screenplay inspired by his own life), key scenes are recreated with affection, and the script wisely resists the temptation to radically reinvent a story that has endured for more than four decades. The relationship between Daniel and Mr Miyagi remains the emotional heart of the show, and the film’s central themes of resilience, mentorship and self-belief are well-retained, while adding an original score by Drew Gasparini (with arrangements by Andrew Resnick).
The creative team clearly understands how to translate a film known for its training montages and action sequences into a theatrical environment, and it is here where ‘The Karate Kid’ excels. Directors often struggle to make stage combat feel convincing, but here Kav McCurdy’s fight scenes carry real energy and momentum. The karate sequences are slickly choreographed and integrated effectively into the storytelling, and the ensemble execute the demanding choreography with impressive precision, creating some of the production’s most memorable moments. The climactic tournament sequence, in particular, generates the sense of spectacle audiences will be hoping for. The design elements are equally strong, with Derek McLane’s set moving fluidly between locations, while projections (Peter Nigrini) and lighting (Bradley King) help create a cinematic quality that suits the material and pays homage to its origins. Director Amon Miyamoto shows a confidence to visual storytelling that keeps the production moving at pace and prevents the familiar plot from feeling overly static.
Unfortunately, the musical’s biggest weakness is the very backbone of its adaptation, in that while the score is perfectly serviceable in the moment, very little of it lingers once the curtain falls, and it lacks a standout anthem capable of elevating the material beyond its cinematic source. There is a sense throughout that the production excels whenever it leans into movement, action and visual storytelling, yet loses momentum when characters break into song. Some numbers so advance the plot or provide character insight while others feel like they’re filling time, and few possess the melodic punch or emotional resonance expected from a truly successful musical adaptation. The overall result is a musical that often feels like a very good stage adaptation with songs added, rather than a story that naturally demands to be told through music, although we do give it credit for at least offering a score of original songs rather than shoehorning in a catalogue of 80s hits.
Adrian Pang delivers a warm and quietly moving performance as Mr Miyagi. Rather than leaning too heavily into imitation, he brings his own gentle authority to the role, creating a character who feels wise, humorous and genuinely caring. His scenes with Gino Ochello’s Daniel are among the best, providing the emotional grounding that keeps the audience invested even when the musical elements prove less successful. Ochello makes for an engaging lead, capturing Daniel’s awkwardness and determination without becoming overly earnest, and asserts himself as a star of the future. Sharon Sexton is excellent as always, though feels a little wasted in a role that doesn’t give her much to do, despite sounding in fine voice. Special mention should also go Elena Breschi who stepped into the role of Abi on Press Night at the very last minute and delivered it with confidence and conviction.
Ultimately, ‘The Karate Kid: The Musical’ is an entertaining evening rather than an essential one. Strong performances, inventive choreography and impressive design help overcome a score that rarely matches the quality of the production surrounding it. Like Daniel himself, the show demonstrates plenty of heart and determination. It just falls short of becoming a true champion.
‘The Karate Kid – The Musical’ runs at Milton Keynes Theatre until Saturday 20th June 2026, before continuing on its UK tour through to the beginning of August.
Performance runtime 2 hours 25 minutes including interval.
Details at:
https://www.atgtickets.com/venues/milton-keynes-theatre/whats-on
https://www.thekaratekidthemusicaluk.com
