JADAR

★★★☆☆

The popularity of Karate Kid spans way beyond the classic 1984 movie with five sequels and a multi-series television spin-off a whole 34 years later. As a fan of the franchise, I’ve always been quietly surprised by the enduring popularity of Karate Kid, its universal tales of friendship and bullying still captivating new and old audiences alike.

Of course, nostalgia plays a part, along with the cultural phenomenon surrounding martial arts, particularly the 1970s kung-fun craze spearheaded by the legendary Bruce Lee. Karate Kid scratched that cultural itch. No surprise a phenomenon like that would be adapted to stage, but would it strike the right balance, or crumple like La Russo’s knee?

Original screenwriter Robert Mark Kamen returns (being a semi-autobiographical tale), with Amon Miyamoto as director. The story follows Daniel LaRusso (Gino Ochello), the new kid on the block who’s bullied relentlessly by Johnny (Joe Simmons) and the Cobra Kai dojo. Maintenance man and karate master Mr. Miyagi (Adrian Pang) strikes up an unlikely friendship with Daniel, promising to teach him to defend himself. 

Derek McLane’s staging is simple but elegant with layers of traditional shoji doors providing a backdrop to Miyagi’s dojo, before decorative props and projections transport us to another setting. Bradley King’s lighting is a particularly nice touch, Cobra Kai’s dojo flooded with red and harsh white spotlights while Miyagi-Do is filled with warm yellows, gentle blues, and glowing silhouettes. It’s aptly cinematic! 

The story is as heartwarming as ever, with particularly endearing performances from Pang and Ochello. Their chemistry is the heart and soul of the production. Ochello’s Daniel is sweet, naive, and angsty, balanced by his level-headed and gentle sensei. His portrayal amps up some of Mr. Miyagi’s warm-hearted gestures, an amusing joviality shining through each line. He’s less strict and retorts a little less sage wisdom, but it’s a refreshing take on the character.

Some of the storylines remain a little surface-level with the racism, class division, and the impacts of war brushed over in favour of the main light-hearted story beats. Additionally, there’s still a sense of orientalism present in the material, with Miyagi as an all-powerful mystical “superhero”, healing with hand rubs and claps, or fighting with impossible prowess.

His karate technique was constantly embellished by awkward choreography, a trail of silver Kuroko inspired spirits flailing around with swishy exaggerated arm movements in what felt like a pale imitation of Avatar’s water-bending rather than genuine Karate. Daniel’s duet with Ali has some equally cringy hand movements. Of course, there are limitations to how realistic the karate poses and fight scenes can look, but the lack of martial arts and tai chi movements was jarring, leaning more into clunky interpretive dance variations. Despite this, the ensemble looked far more at home in the percussive Cobra Kai rock numbers with intense militaristic marches and fast-paced jabs.

The music suffers from a similar indistinction, many songs blurring together in a jumble of generic lyrics and rhymes. The songs may fit better had the show leaned into more playful, self-aware, hammy moments, amping up for an over-the-top and triumphant training montage.

However, the cast were flawless! Ochello’s solos were beautifully performed with uplifting and youthful riffs, Sharon Sexton wowed with her effortless vocal agility in a tender mother and son number, and Abigail Amin’s velvety voice soared in her solo.

Karate Kid: The Musical is upbeat show with a charming set, a heartwarming story, and an extraordinary cast at its core. Yet, it never quite strikes the right balance, with clunky choreography and generic music setting it off on the wrong foot.