(seen at the afternoon performance on 2nd May 2026)
For those of the monkey’s generation, cinema visits meant movies based on original writing or existing books, rather than endless franchise adaptations.
We often got a warm teenage romance, with a bit of action to keep the male half of the date happy. “The Karate Kid” fell into this category, so did “Dirty Dancing.”
The latter has already had enormous stage success for decades. On this showing, the monkey now also rather fancies the chances of the former.
High School Senior Daniel (Gino Ochello) has been dragged from New Jersey to Los Angeles by his ambitious computer salesperson mother Lucille (Sharon Sexton).
Daniel meets Ali Mills (Abigail Amin), a girl from “the Hills.” As a “Valley” boy, they shouldn’t mix. Since Johnny Lawrence (Joe Simmons) is her still-hovering ex, they really shouldn’t mix.
A keen Cobra Kai Karate Dojo student, under Vietnam veteran John Kreese (Matt Mills), Johnny and Kreese hatch a plan to humiliate Daniel.
Daniel’s apartment building caretaker Mr Miyagi (Adrian Pang) forms a fatherly bond with him, however… and Miyagi has 400 years of Karate ancestors behind him…
Robert Mark Kamen adapts his own screenplay for the stage, and the storytelling is beautifully clear and concise. Director Amon Miyamoto likewise rises to the occasion. The set-up is a little long, but the show takes off like Rocket software (in-joke) after 20 minutes, then never lets up.
It is choreographers Keone and Mari Madrid who must take most credit. Along with Kev McCurdy for the fight arrangement, the movement is outstanding. With Ayako Maeda’s careful colour-coding of “good in beige, bad in black” and colourful teen outfits, we are never at a loss for a visual expounding and improving a scene.
They have not perhaps quite refined the idea of a chorus of Karate acolytes behind Miyagi and Kreese, but it is something to be worked on rather than discarded – the team is almost there with it.
A mixture of Japanese instruments, 80s Electropop and Broadway gives the show a distinctive flavour. “Bonsai” is an outstandingly strong sequence in the first half, “Typical Ali Mills” a surprisingly biting second act opener.
“Slow Song” needs a more focussed lyric as the youngsters contemplate the party crowd around them, and “Balance” and “Dreams Come True” fight it out as an “11 O’clock number” in the second half – neither strong enough to win, yet both almost doing so.
A moving ”Kiyoko, My Love” is beautifully delivered by Ria Tanaka, demonstrating the overall strength of the score.
The performances are equally strong.
Adrian Pang’s Mr Miyagi is a realist with a mischievous line in literalism. Sadly, they do leave out the “nose” joke, but the belt and other lines are there, and he is a compelling compilation of wisdom and witty philosophy.
Gion Ochello’s lead debut is not just (like his flycatching) beginner’s luck. The younger female audience delighted in his quiet masculinity, the vulnerability appealing as much to them as lover Ali. His final triumph pleases all, the quintessential 1980s American heartthrob boy next door making good.
Joe Simmons manages his bullying nemesis equally well, with Matt Mills as his mentor in fine form. We understand the reasoning behind the Kreese philosophy and almost sympathise as Mills exposes skilfully the depth of the wounds he experienced.
Notes too for Abigail Amin and Sharon Sexton as the women in Daniel’s life. Amin has a slight Rachel Zegler feel, bringing a little gravity to a light role. Along with Sexton, they make the most of a solo number each.
Both songs require something, and the writers will probably figure out what by listening repeatedly to Amin and Sexton bringing out as much as they can with what they currently have.
Bradley King’s lighting and Derek McLane’s Japanese screen designs always keep us located. The tournament’s arena spotlighting is a triumph, McLane’s fast shifts between apartments, exteriors and parties remarkable considering this is a set which will be transported around the country for many months to come.
That should prove worthwhile. When you have an audience cheering with genuine involvement for their tournament winner, applauding the actions of a teenager defending herself and sympathising vocally at all the right moments, you know you are breaking through.
First seen in St. Louis, USA, in 2022, this is now touring the UK for the first time (click here for details). If they can wax on / wax off a little bit while out on the road, it could end up sitting very nicely in a mid-sized West End theatre for a fair while to come.
4 stars.