REVIEW: KARATE MAN at Hen & Chickens Theatre 22 – 24 June 2026
‘truly original … but the show’s execution leaves much to be desired’ ★★
Karate Man is the perfect show for control freaks, helicopter parents and their gamer children alike. “Change player,” shouts the tech system, and some poor Londoner, having failed a tricky mission, must swing the remote controller to the next audience member. Performed at The Hen & Chickens Theatre Bar, the world’s first playable live-action comedy show arrives in Islington with mixed success. Its concept is truly original and, let me repeat, there is nothing like this kind of performance anywhere else. But the show’s execution leaves much to be desired.
Using custom-made software that attempts to run the show like a video game, remote-control signals are sent to a tech desk by an audience member which responds by creating sound cue for the cast. Press X (Kick) and Karate Man, the protagonist, will kick for you on stage. The game mimics some of the most celebrated brawler games, such as Mortal Kombat and The Injustice franchise but in real time in front of you. For those who aren’t familiar with these games, imagine the movement of fencing combined with the kicking, jumping and punching of boxing or karate.
The script is simple enough. In a flashback, Karate Man, a mute but energetic husband, fights the ‘bad guys’ around Karatetown until he reaches a head-to-head with supervillain Ross Roundkick. Awakening from this dream, Karate Man gets out of bed with his concerned wife who is frustrated that he only communicates through karate. Whilst Karate Man is an adept martial artist, hence the name, ordinary life and domestic tasks are a bit more of a challenge. It is up to the audience not only to help him out but also to choose his path. Think of a Choose Your Own Adventure book or role-playing Game Board Game.
Bruno Dubosarsky, as Karate Man, works through a tough stint. With current temperatures soaring above 30°, it is merely impressive that he manages the whole way through the production. The performances by Alexandra Smith and Maddie Houlbrook-Walk could also be tightened but a lack of a fully formed female character in this work also hinders its success. Where the remote control system works like a dream, the narratives themselves often felt sloppy. Even though these story arcs are highly ambitious, employing recon missions from Assassins Creed and card-game features in which audience members play against an opponent, they need to be more tightly wound together.
Much enjoyment is still to be had for family audiences and this reviewer will always commend any work that attempts something that has never been attempted before. Still, the winner of Best Interactive Show at the Adelaide Fringe and recipient of other awards from the Sydney Festival, must look to the performance of its individual cast members for improvement.
Box Office https://karatemanshow.com/
Photography: Alex Gabbott
