Review: The Karate Kid – The Musical is a black-belt adaptation of an 80s classic

There was always one big question hanging over The Karate Kid – The Musical: could a much-loved 1980s film really work on stage in 2026? On the evidence of its Oxford opening night, the answer is a confident yes.

When the invitation arrived to review The Karate Kid – The Musical, the obvious question was how such an iconic screen story would survive the move to stage.

The original film is so closely tied to its famous lines, training montages and underdog final showdown that a musical version could easily have felt like a novelty. Instead, this touring production treats the source material with affection while finding a theatrical language of its own.

The show opened at Oxford’s New Theatre on Tuesday night as part of a major UK tour, and all the key ingredients are present: Daniel LaRusso, Mr Miyagi, Cobra Kai, Ali Mills, “wax on, wax off”, sanding the floor, painting the fence and the slow realisation that the chores were never really chores at all.

That moment, when Daniel understands that Mr Miyagi has been quietly teaching him the fundamentals of karate, is one of the evening’s most satisfying scenes. It lands because the production understands what made the film work in the first place. This is not really a story about fighting. It is a story about patience, discipline, trust and learning to believe in yourself.

Adrian Pang gives the show its heart

Gino Ochello captures both sides of Daniel LaRusso: the teenage bravado and the vulnerability beneath it. His Daniel is confident enough to make mistakes, but open enough for the audience to stay with him as he learns.

Joe Simmons gives Johnny Lawrence the right edge: aggressive, privileged and dangerous, but still recognisably young and impressionable. That distinction matters, because the story works best when Johnny is more than a one-note bully.

Abigail Amin brings warmth and clarity to Ali Mills, whose presence sparks the rivalry but is not reduced to it. Matt Mills is suitably intimidating as Cobra Kai sensei John Kreese, embodying the brutal “no mercy” philosophy that gives the show its darkest force.

But standing above the production is Adrian Pang’s magnificent Mr Miyagi. He gives the character warmth, humour and stillness, and becomes the emotional centre of the evening. His instruction to Daniel, “I say, you do,” neatly captures the character’s unconventional teaching style, while his gentler advice, “Trust yourself. Don’t be afraid to trust yourself,” gives the story its emotional thread.

Movement gives the musical its energy

The production moves quickly. We are introduced to Daniel, his new home, his mother, Ali, Johnny and Cobra Kai without delay, and the story soon powers towards the final confrontation.

That pace is helped by choreography that blends musical theatre movement with martial arts-inspired action. The ensemble is used particularly well, sometimes becoming an extension of Mr Miyagi himself, moving almost like his shadow during key moments.

Visually, the show balances a clean, minimalist Japanese influence with the sharper red tones of the Cobra Kai dojo. Daniel’s home life and Mr Miyagi’s workshop are sketched efficiently, while the set keeps enough flexibility for the production to move from domestic scenes to training sequences and tournament drama without losing momentum.

The musical numbers are at their strongest when they support character and movement rather than pausing the story. This is not a show that forgets why people came. It knows the audience is waiting for those famous beats, and it delivers them with enough freshness to avoid feeling like a simple re-enactment.

Nostalgia, but with enough life of its own

Part of the pleasure comes from recognition. The audience clearly enjoyed seeing the familiar lines and training rituals return, with plenty of whoops, cheers and laughter through the evening.

But nostalgia alone would not be enough. What makes the show work is its sincerity. At its heart, The Karate Kid – The Musical remains an uplifting story about friendship, self-belief and personal growth. It is about standing up to bullies, learning resilience and discovering your own strength without becoming the thing you are fighting against.

The final showdown between Daniel and Johnny has the expected crowd-pleasing charge, but the production earns it by keeping the Daniel and Miyagi relationship at the centre. That bond is the reason the story still resonates.

There was only one nostalgic flourish missing for me: Peter Cetera’s Glory of Love. Strictly speaking, that belongs to The Karate Kid Part II, but for anyone who grew up with the films, its absence is hard not to notice.

Verdict

The Karate Kid – The Musical is enjoyable, warm-hearted family entertainment and a surprisingly effective stage adaptation of a film many people know almost by heart.

It honours the original without feeling trapped by it, and Adrian Pang’s Mr Miyagi gives the production real emotional weight. For those who grew up with the film, it is a satisfying trip down memory lane. For newcomers, it is a clear, lively and uplifting underdog story told with energy and affection.

By the time the cast took their bows, much of the Oxford audience was on its feet. That felt entirely deserved.

The Karate Kid – The Musical is at New Theatre Oxford until Saturday 13 June. Tickets are available through ATG Tickets.

Remaining UK tour dates

Dates	Venue	City
Tuesday 9 to Saturday 13 June	New Theatre	Oxford
Tuesday 16 to Saturday 20 June	Milton Keynes Theatre	Milton Keynes
Tuesday 23 to Saturday 27 June	Festival Theatre	Edinburgh
Tuesday 30 June to Saturday 4 July	Theatre Royal	Glasgow
Tuesday 7 to Saturday 11 July	Lyceum Theatre	Sheffield
Tuesday 14 to Saturday 18 July	Empire Theatre	Sunderland
Tuesday 21 to Saturday 25 July	The Alexandra	Birmingham
Tuesday 28 July to Saturday 1 August	Wales Millennium Centre	Cardiff