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MIX 56 CHESHIRE'S BEST MUSIC MIX

Phil
PHIL ROBERTS
THE MORNING SHOW
There’s something instantly reassuring about a show that knows exactly what it wants to be.
The Karate Kid: The Musical is big-hearted, nostalgic, emotional and full of feel-good energy, but it also has enough heart and theatrical intelligence to make it much more than a simple stage version of a much-loved film. Last night at The Palace, Manchester, the UK tour delivered a proper five-star triumph.
From the opening moments at The Palace, Manchester, it’s clear this production understands the challenge of bringing a screen favourite to the stage.
The first 10 minutes are a little slow to settle, but once it finds its rhythm, the show grips you properly and doesn’t let go. What follows is a production packed with emotion, spectacle and a surprising amount of depth.
One of the real standouts is the mentorship at the heart of the story. Adrian and Gino are particularly impressive, creating a dynamic that feels authentic, moving and genuinely inspiring. That relationship is one of the show’s strongest threads, and it’s handled with real care — making you think about guidance, patience and the importance of helping others grow. Gino, in particular, feels like a star waiting to shine even brighter, with a confidence and sincerity that anchors the emotional side beautifully.

It was also lovely to see Sharon Sexton on stage after speaking to her ahead of the performance. Her voice is superb, cutting through with real warmth and control — just as she described in our interview, where she highlighted giving Lucille more depth.
Her duet with her son is one of the most moving moments in the show, adding a lovely layer of family emotion that resonates deeply.
The fight scenes are another huge highlight. They’re magical, nerve-wracking and impressively staged, with a level of precision that clearly takes huge skill to pull off. There’s real tension in those moments, and the production makes the action exciting without ever losing the emotional heart of the story.
Visually, the set is simple but magical, which works perfectly here.
It doesn’t try too hard; instead, it supports the story and lets the performances do the heavy lifting. That sense of balance runs through the whole production — restraint alongside spectacle is one key reason it succeeds.
The audience reaction said it all. The Palace was full, with plenty of young children in attendance, though I wondered if the very youngest were quite the right fit — there was a fair bit of shushing, but the cast handled it with complete professionalism. Teenagers, though, would absolutely love it, as would anyone who grew up with the original film.

After all, this began life as a film, but on stage it’s been transferred with real emotion, heart and depth — still carrying the original spirit while finding fresh meaning.
There’s a strong message about balance, restraint and thinking before speaking, a timely reminder in our rushed world.
The standing ovation felt completely deserved: a faultless cast, beautifully judged production and a night that leaves you uplifted.
The company can be incredibly proud — sometimes the biggest bully simply can’t beat balance, heart and self-belief.
Written by: Phil Roberts
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