Review: THE KARATE KID - THE MUSICAL, New Theatre Oxford - Tour
Photo credit: Manuel Harlan
Derived from the timeless classic 80s movie of the same name, this nostalgic new musical, directed by Amon Miyamoto, follows in its iconic roots with much resonance.
The evolution of Karate itself has roots dating back as far as 14th Century China where it began, later being introduced to mainland Japan in the 1920’s, and growing to be a popular form of self defence training in the modern day. It is not currently an Olympic level sport but did feature during the delayed Tokyo 2020 games. Karate prides itself as a weaponless sport, with its Japanese translation being ‘empty hand’. Karate surrounds the ideals of self discipline, balance, inner strength, linear movement and respect, which all feature in abundance in this adaptation. Choreographers Keane & Mari Madrid, alongside fight consultant Kev McCurdy, have represented these traditions and qualities well, and deliver these through accurate in-depth stage combat and contemporary dance routines.
The audience are welcomed into the auditorium to the stage set with traditional thematic screens, gently lit, surrounding the central focal point of the poignant and familiar (if you have seen the movie) sight of a Bonsai tree that is also reflected and enlarged onto the backdrop of the space.
Some of the set changes are deployed mechanically in an origami style fashion, unfolding and opening as they go, which is aesthetically pleasing, however the majority are completed fluidly by the ensemble. Inspired by Kabuki theatre, where kuroko stagehands would be dressed in black to symbolically be ‘unseen’. Here the ensemble, traditionally dressed in a karate uniform that differs in colour and style to that of Cobra Kai to identify and unify them as a collective, appear in dream like sequences. They are seen but they move with such subtlety, pace and purpose that their movements blend seamlessly as they readjust the set. Bradley King’s clear and intentional lighting design uses washes of colour and differing shades to accentuate locations well.
Generally, the musical score supports the piece well but there is one creative choice that is possibly questionable. Adrian Pang portrays a quintessential representation of Mr Miyagi, portraying kindness, selfless acts, compassion and wisdom. His vocals have a beautiful tone and work has clearly gone into his characterisation. This, alongside the prevalence of a character like Mr Miyagi, is one that undoubtedly deserves stage time. This character is known and loved for his broken English dialect which factors in the audience's connection with him and also entices many a comedic moment. Although it supports the storytelling, and Pang himself has a beautiful voice, the two tracks sung by his character interrupt this slightly as they are full worded songs using clear articulated language.
The story is slighter slower to build to begin with but lovers of the film will certainly find comfort in the similarities of the narrative here. Act 2, however, is where this musical really comes into its own and the pieces all come together to pack an emotional punch. The audience had clearly grown to love Adrian as Mr Miyagi and his entrance to the stage at the beginning of Act 2 was met with great applause. As the companionship builds between Daniel (played by Gino Ochello) and Mr Miyagi, and we learn more of their personal stories, many heartwarming moments are experienced. The dynamic between the duo is wholesome and believable. The morals, the lessons and the friendship that blooms truly encourage investment in trusting the process, with moments of comedy intertwined.
Sharon Sexton in the role of Lucille LaRusso delivers a captivating performance that emotively hits the spot with her heart consuming rendition of the song ‘If I Could Take His Pain Away’. Abigail Amin as Ali Mills delivers an outstanding vocal performance, Matt Mills as John Kreese commands the stage with his presence and persona, and Joe Simmons as Johnny Lawrence really delivers on the antagonist that the audience love to hate. The entire cast deliver a strong, seamless and impactful performance.
This is a musical that delivers a message that is as prevalent in today’s society as ever; bullying, single parenting, life after loss, conflict resolution and earned respect. There is something in it that everyone can identify with, ending on a unified sense of victory after a heartwarming tale that sees the underdog come out on top.
**** Four stars
Reviewed by: Claire Baker