Review: Paddington The Musical
- The Verdict
- Jul 25
- 5 min read
Updated: Jul 26
Look after this bear, London has. In arguably the most anticipated new musical of last season, Michael Bond's bear, Paddington, comes to life on the Savoy Theatre stage each night in front of nearly 1,200 people. Paddington The Musical has finally made its way to the stage in an adaptation with music and lyrics by Tom Fletcher (of McFly) and a book by Jessica Swale. Since opening in December, it has become London's hottest ticket, selling out months in advance. It's become beloved by tourists and critics alike for its family-friendly appeal while still offering a surprisingly mature theatrical experience for adults. It doesn't shy away from darker themes—or even a few genuinely frightening moments for younger audience members—a real feat. But is it all it's talked up to be?
In some senses, yes. It promises spectacle on a scale rarely seen in recent years through its staging and especially its design, and it certainly delivers. Under the direction of Luke Sheppard, Paddington is a big, bright, and colorful production, with Tom Pye's expansive, lavish sets constantly transforming before our eyes. From the Natural History Museum's animals to the Browns' home, complete with collapsing shelves and delightful special effects, the stage is in constant motion. Gabriella Slade's whimsical costumes add to the visual feast, creating a never-ending stream of color and imagination.
The material, on the other hand, has moments of true genius but leaves just as much to be desired in terms of substance. Fletcher's score contains some absolute gems, especially “The Rhythm of London,” “Pretty Little Dead Things,” and “Everything You Never Were.” The remaining melodies are undeniably catchy (there are some real earworms!), but they're let down by lyrics that rarely match the inventiveness of the music, and that, I think, gets to the crux of the show's issues. Particularly in the second act, the writing trades ingenuity and cleverness for surface-level displays of emotion and monologues that frankly hit the audience over the head with the show's morals. This is especially evident during the rooftop climax with the Browns and Millicent Clyde, where the momentum is suddenly and jarringly halted so Mr. Brown can deliver an unearned speech. Yes, it articulates the show's message of acceptance and kindness, but it comes across as forced and unnatural—not to mention disrupting the moment of greatest tension.
However, the centerpiece of the production is, of course, the titular bear. The production kept its method of bringing Paddington to life a closely guarded secret until the first preview, when it was revealed that the bear would be realized through a combination of a live performer and remotely controlled puppetry, built around Tahra Zafar's extraordinary puppet design. It takes two performers to bring Paddington to life: one onstage in the bear suit responsible for his physical movement, and another offstage providing his voice while remotely controlling his facial expressions. The result is astonishing. From the subtle movement of his eyebrows during Paddington's signature “hard stare” to the moment he first appears in his iconic blue coat, the illusion is so complete that it's easy to forget you're watching a puppet at all. I was among the many audience members whose eyes got misty when the ensemble parted to reveal him for the very first time.
Bringing Paddington to life requires remarkable teamwork to make him as believable as he is. Onstage in the suit, Arti Shah brings the beloved bear to life with remarkable physicality, and she is wonderful. She makes his movements feel completely natural despite spending much of the performance effectively blind inside the suit, while also perfectly synchronizing Paddington's mouth seamlessly with James Hameed's voice offstage. Hameed remains backstage controlling the puppet's expressive face while lending Paddington his warm, gentle voice. Hameed also appears onstage as the Young Man for a few brief moments throughout the show, giving context to Paddington’s voice, while also representing an immigrant story paralleling the bear’s. Though I’m not sure what qualities make a singer’s voice fit a bear, Hameed’s voice is sensational, powerful, and sweet, providing the perfect finishing touch to the remarkable team effort that is Paddington.
Surrounding the iconic bear is an incredible supporting cast of some of Britain's finest performers. David Birch (usually Adrian Der Gregorian) brings warmth to the initially uptight Mr. Brown, making his gradual emotional transformation believable despite some uneven writing. Amy Ellen Richardson is equally strong as the compassionate Mrs. Brown, delivering “One Page at a Time” with soaring vocals and genuine emotional sincerity. West End legend Bonnie Langford is tremendous fun as Mrs. Bird, earning huge laughs with tales of her supposedly extraordinary past—including a sly Cats joke that theatre fans will especially appreciate. Still, she executes Ellen Kane's demanding choreography with astonishing ease, complete with her trademark high kicks and splits. Brenda Edwards and Timi Akinyosade bring infectious energy to the standout “The Rhythm of London,” celebrating the city's diversity while reinforcing another immigrant story that mirrors Paddington's own. The hinted romance between Tony and Judy Brown, however, never has enough room to develop amid the show's many competing storylines.
The absolute standout is Victoria Hamilton-Barritt as the villainous museum director-turned-taxidermist Millicent Clyde, who attempts to stuff Paddington for her collection. She is given the show's strongest material, including “Pretty Little Dead Things” and “Everything You Never Were,” where she can fully showcase her powerhouse vocals and razor-sharp comic timing. Hamilton-Barritt relishes every deliciously wicked moment, stealing every scene she's in.
Ben Redfern (usually Tom Edden) as Mr. Curry, Andilé Mabhena (usually Tarinn Callender) as Grant, Teddy Kempner as Mr. Gruber, and Vicki Lee Taylor (usually Amy Booth-Steel) as Lady Sloane all make memorable impressions, while the outstanding ensemble execute Ellen Kane's energetic choreography with remarkable precision and boundless enthusiasm.
Paddington has always been a story about welcoming strangers, and this adaptation leans fully into that idea. Few stories feel more timely in today's global climate, with the journeys of the Young Man, Mr. Gruber, and Paddington himself drawing clear parallels to the experiences of immigrants searching for acceptance and belonging. Unfortunately, the script sometimes struggles to trust its audience, preferring speeches over subtlety, but its sincerity remains impossible to resist.
But above all, Paddington's irresistible charm is what makes it the smashing success it is. It delights children and adults alike, bringing childhood dreams vividly to life. Around me, audience members of all ages laughed, wiped away tears, and embraced the joy radiating from the stage. Few family-oriented productions manage to entertain everyone without talking down to one age group, but Paddington achieves exactly that, creating a truly special and unforgettable night at the theatre.
Paddington may not have the sharpest writing currently on the West End, but its dazzling spectacle and enormous heart more than compensate. Through astonishing stagecraft, phenomenal performances, and an unwavering belief in kindness, this production captures exactly why Michael Bond's little bear has endured for generations. London has indeed looked after this bear—and, judging by the reception it has received, will continue to do so for many years to come.
4.5/5 stars
2 hours and 45 minutes, one interval
Savoy Theatre
