The theatrical version of The Karate Kid has arrived at the Palace Theatre and Opera House, bringing a well-known story of discipline, resilience and mentorship to a live audience.
Best known for its iconic cinematic legacy, The Karate Kid translates surprisingly well to the stage. It leans less on spectacle and more on character, movement and emotional growth.
At the production’s heart, the story still revolves around a young outsider trying to find confidence and belonging in an unfamiliar environment, guided by an unexpected mentor.
The narrative follows Daniel, played by Gino Ochello, marking his first professional stage debut, as he struggles to adjust to a new life, facing intimidation and self-doubt before encountering the legendary Mr Miyagi, played by Adrian Pang.
What unfolds is more than just a story of learning karate; it becomes a study of patience, balance and inner strength for Daniel. The central relationship between student and teacher remains the production’s strongest theme, grounding the story in warmth and sincerity.
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The bond between student and Sensei is clear to see throughout. Focusing more on the movement side of things, the musical definitely has its fair share of action; the production shines with storytelling through choreography.
The fight sequences are carefully staged. The whole production walks a balanced line between movement and tension that feels immediate without losing theatrical elements.
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These scenes are not about aggression alone but about control, reflecting the philosophy at the core of the story: balance. If you’ve seen the movies or the likes of Cobra Kai, you’ll know the vibes.
The cast works cohesively to maintain this balance. Ochello playing Daniel captures a mix of genuine vulnerability and determination as he attempts to settle into his new life in California, a million miles from the streets of Jersey he once knew.
While Adrian Pang portrays Mr Miyagi does this with a quiet authority. Their dynamic evolves on stage flawlessly, allowing the audience to invest in their journey rather than simply anticipating the next fight.
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Visually, the production makes effective use of staging and design. The set shifts fluidly between locations, using lighting and more than a few well-timed transitions to keep the pace moving.
Subtle changes in atmosphere mirror the cast’s internal world, moving from insecurity and isolation to confidence and connection as the story progresses. The music throughout further supports this, blending nostalgia from the old flicks we all knew and love, with a new contemporary stage feel.
As the story builds toward its familiar ending, the focus remains less on winning and more on personal growth. The final moments emphasise discipline, self-belief and restraint rather than triumph alone.
A well-deserved standing ovation. (Credit: The Manc)
Reinforcing why the story has endured across generations and how the themes explored remain powerful pillars of life in today’s world.
Ultimately, The Karate Kid on stage at the Palace Theatre succeeds not by trying to replicate the film exactly, but by reinterpreting its themes for a live audience. It’s a production that leans into character, movement, friendship and emotional resilience.
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It reminds viewers that its real power lies not in the fights, although sometimes necessary as a last resort, but in what they represent on the inside. We had a much deeper experience than we expected, and loved pretty much every minute of it.
Northern Ballet’s Gentlemen Jack at The Lowry – A powerful story of queer love
Aimee Woodcock
Northern Ballet’s Gentleman Jack is a moving and beautifully crafted retelling of the life of Anne Lister, the 19th-century Yorkshire landowner often described as the ‘first modern lesbian’.
Through the stunning choreography of Annabelle Lopez Ochoa, the production captures not only Anne’s extraordinary determination to live authentically, but also the enduring power of queer love.
Gemma Coutts delivers a compelling performance as Anne Lister, embodying her confidence, intelligence and refusal to conform to society’s expectations. From the opening scenes, Anne’s strength of character shines through, setting the tone for a story that feels both deeply historical and strikingly relevant. The choreography from Ochoa allows Anne’s personality to shine through every movement.
Halfway through Act I, Saeka Shirai joins the ensemble as Marianne, Anne’s great love. Their partnership is one of the production’s highlights. The pair beautifully convey the intensity of their passion and devotion, so much so that it moved me to tears.
Surrounding them is a fascinating chorus of words, embodied by the ensemble dancers, who fill the stage and bring Anne’s famous diaries and inner thoughts vividly to life, you truly feel like you’re getting lost with the words as they take over the stage.
The romance is tested when Marianne’s husband discovers their affair. Faced with an impossible choice, Marianne chooses the security of her marriage over a life with Anne, leaving Anne heartbroken.
Credit: Tristram KentonCredit: Tristram KentonGentleman Jack is at The Lowry
Following this loss, Anne travels to Paris and returns transformed, once she’s back home in Yorkshire, she forms an immediate connection with the gentle and wealthy Ann Walker, danced beautifully by Rachael Gillespie. Their relationship becomes the emotional centre of Act II.
Together they face numerous challenges, including societal pressures and personal insecurities, yet their bond continues to deepen – a true testament to queer love.
Ochoa carefully builds their relationship through movement, creating a partnership that feels authentic and symbolic. The ballet ends in a symbolic wedding and shared flight towards a future together, a powerful affirmation of their love and commitment.
As a queer woman myself, I was completely moved by this portrayal of love. Seeing a same-sex relationship presented with such beauty, dignity and tenderness within the classical language of ballet felt deeply moving.
Gentleman Jack reminds us that queer women have always been here, and always will be. It is a powerful, emotional and uplifting production that I would highly recommend.
Gentleman Jack is at The Lowry in Salford until Saturday 6 June
Multi award-winning musical Hadestown is coming to Manchester on its UK tour next year
Emily Sergeant
Multi award-winning musical Hadestown is heading out on tour next year, and of course it’ll be stopping off in Greater Manchester.
The Tony and Grammy Award-winning production is currently playing its third smash-hit year in London’s West End, but once 2027 rolls around, Hadestown is embarking on its first-ever tour of the UK and Ireland, and tickets are officially set to go on general sale this morning (5 June).
If you’re unfamiliar with this modern-day classic, Hadestown takes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.
Described as being a ‘deeply resonant’ and ‘defiantly hopeful’ theatrical experience, audiences are invited to imagine how the world could be.
We're coming, songbirds. The journey underground begins February 2027.
Having been seen by over six million people, streamed by nearly a billion, and adored by fans around the world, critics have called this record-breaking musical ’the most exhilarating ride’… and once you watch it for yourself, it’s not hard to see why.
Hadestown will be taking to the stage at the Lowry in Salford next March, arriving in the city on Tuesday 9 March and running through until Thursday 11 March 2027.
Other northern cities the production will be visiting on its upcoming tour include Leeds, Sheffield, Newcastle, Liverpool, Hull, and Chester, while there’s many other major locations on the list before it closes in Sunderland in mid-November 2027.
Multi award-winning musical Hadestown is coming to Manchester on its UK tour next year / Credit: Marc Brenner (Supplied)
While the production is touring, the critically acclaimed West End run will still continue at London’s Lyric Theatre, more than eight years after its sold-out debut at the National Theatre in 2018.
Hadestown will be at the Lowry from Tuesday 9 – Thursday 11 March 2027.
Lonnie Bowes -
14th May 2026 
