The Karate Kid – The Musical has arrived at Edinburgh’s Festival Theatre as part of its UK premiere tour, running until Saturday 27 June before moving to the Theatre Royal in Glasgow from 30 June to 4 July. Based on the much loved 1984 film, this show follows teenager Daniel LaRusso as he moves from Jersey to California with his mother, Lucille, and finds himself caught between new friendships, first love, and the brutal discipline of Cobra Kai. With guidance from Mr. Miyagi, Daniel learns that karate is not only about fighting, but patience, resilience, and most of all, balance.
Adrian Pang brings an understated humour to Mr. Miyagi, grounding the production whenever its pace appears to run ahead of itself. His delivery of the line “life is balance” becomes the show’s guiding principle. Gino Ochello, making his professional stage debut as Daniel LaRusso, is an impressive lead with strong vocals from the very first number and full of nervous tics and quirks that make Daniel feel real and believable. Sharon Sexton gives Lucille LaRusso a bright but warm touch, and her Act Two conflict with Daniel adds a welcome emotional kick.
Abigail Amin’s Ali Mills shares sweet, well-blended harmonies with Ochello, particularly during “Slow Song”, while Joe Simmons gives Johnny Lawrence the swagger and insecurity needed to keep the rivalry heated. Matt Mills is a severe John Kreese, making Cobra Kai’s “Strike First. Strike Hard. No Mercy.” land with incredible force. With Daniel starting his new life in California, Finley Oliver brings lively support as Freddie Fernandez, giving Daniel’s early friendship circle a real lift.
The wider company deserves accolades for giving the production much of its power. Ambra Caserotti, Johndeep More, Ria Tanaka, Elena Breschi, Aden Dzuda, Elliott Evans, El Haq Latief, Isaac J Lewis, and Emily Rose-Davis bring precision and momentum to the show, with Tanaka also delivering a standout performance as Kiyoko in one of the evening’s most moving scenes, drawing tears from the audience in response. Onstage swings Aaron Archer, Dylan Blake-Colbert, Serenar Douch, Esme Rothero, and Sok-Ho Trinh help keep the world of Karate Kid feeling full and fluid, while the band, led by Chris Poon and assisted by Issie Osborne, give the score its strongest punch in the Cobra Kai sequences.
Directed by Amon Miyamoto, the production wastes no time establishing its 1980s film world charm, from the pre-show “wax on, phone’s off” announcement to familiar moments such as watching Mr. Miyagi try to catch flies with chopsticks, and inevitably, “wax on, wax off” itself. Robert Mark Kamen’s book honours the original story without treating it like a museum, adding his own flair and touch. Drew Gasparini’s music and lyrics are at their best when leaning into big, brassy energy or sincere emotional release. Some of the first act transitions from dialogue to song feel abrupt, and a few vocal riffs sit closer to contemporary show choir polish than the grounded tone of the story, but Act Two finds its rhythm with far more confidence.
The choreography and movement are where this show most consistently strikes true. The dancers create a striking visual language around Mr. Miyagi, blending martial arts discipline with stage movement in a way that feels clean, controlled, and atmospheric. The tournament finale is particularly effective, with fight work supported by consultant Kev McCurdy and the company balancing choreography, storytelling, and audience involvement without losing clarity.
Ayako Maeda’s costume design is a standout, especially in the traditional and karate-inspired looks worn by the dancers, while Bradley King’s lighting sharpens the shift between Daniel’s personal world and Cobra Kai’s harder edged energy. The set occasionally shows the strain of moving large pieces on an opening night, but there is cleverness in the ensemble’s use as living scenery, whether becoming cars, fences, or part of Daniel’s training environment.
The production also benefits from a clear respect of Japanese cultural and martial arts traditions at the heart of Mr. Miyagi’s story, with Miyamoto’s direction, Maeda’s costumes, and the disciplined movement work giving those elements texture rather than tokenism.
The Karate Kid – The Musical is not always perfectly balanced, particularly in a first act that can feel a little rushed between scenes, songs, and set changes. Yet Act Two lands a decisive crane kick, bringing emotional weight, smoother storytelling, and a finale that sends the audience willingly into a frenzy. It is funny, energetic, and often genuinely touching, with Ochello’s debut performance an outstanding one. For all its occasional wobbles, this is a strong new musical that understands the appeal of its source material and gives it enough theatrical flair to stand on its own mat.
Get tickets here for The Karate Kid – The Musical at Edinburgh’s Festival Theatre – https://www.capitaltheatres.com/shows/the-karate-kid/
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