Review: Paddington The Musical (Savoy Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

When it comes to new musicals, few have been met with as much anticipation and excitement as the long-awaited Paddington The Musical. A British institution in itself, many have grown up with the loveable character and hoped that the creatives involved would look after this bear with this musical adaptation. The initial reveal and subsequent curtain call from the first preview a month ago quickly went viral, making my own excitement for my eventual visit spiral. I can honestly say I have never been as excited to see a show myself in all my years of theatregoing, both as a reviewer and a theatre lover. There is a danger with that, however, as I went in with such incredibly high expectations, if this was anything less than the best show of the year, I may have left disappointed. I needn’t have worried, as Paddington The Musical isn’t simply the best show of the year, it is the best new musical the West End has seen in quite some time.

First seen in the children’s book A Bear Called Paddington in 1958, Paddington Bear has been a part of people’s lives for generations, only growing in popularity, heightened by the success of the recent movies - the first of which this musical is based on. It would be very easy for the creative team to make one misstep that fails to match the enduring legacy this bear has, and why he has a place in the hearts of so many. Thankfully, that is not the case here, and that is down to how apparent it is that this was a labour of love for all involved, with every creative choice carefully thought about to ensure this doesn’t detract from Paddington's legacy, and actually lifts it further. There is a responsibility from all involved in bringing this to the stage to look after this bear, and they have certainly more than delivered.

Paddington’s story has been adapted for the stage by Jessica Swale with such care, it feels impossible to imagine any way this could have been done better. All of the heart and warmth you would associate with Paddington are all here in great supply, along with some fresh ideas that feel fitting for the theatre. Making theatre itself a small part of the story is an inspired touch, leading to a delightful show within a show routine, while a smattering of jokes designed to tickle adults will fly over the heads of younger audience members without the risk of them asking what it means, but ensures this is a show for everybody.

There is something about Paddington that elicits an emotional response from grown adults. Upon posting the reveal of how Paddington is brought to life on stage (more on that shortly), I was met with replies of people crying. In the weeks since the show opened, many more have told me they cried at his first on-stage appearance, and I am not ashamed to admit I did the same. I think it is the fact that so many of us grew up with Paddington in our lives, and to see him realised in such a spectacular way on stage leads to a mix of huge euphoria, awe and nostalgia. There are further opportunities to feel this throughout, such as when he puts on his iconic duffel coat, and the uttering of a particularly poignant and significant line.

In keeping with the spirit of Paddington and his mission to spread a little kindness in the world, there is a nod to real-world events and to how London should be a welcome place for people who have made their way here from many different places. Now, you might not expect any politics at Paddington, and indeed there isn’t. This speaks more to the bear (apologies) essentials of life, speaking for humanity and the compassion for others that is so often lacking. This very much feels like the spirit of Paddington, and adds an extra weight to the seemingly inconsequential story of a bear being taken in by a human family.

There was the question of how the songs would fare in the context of the story, but with Tom Fletcher on hand, the answer is effortlessly. Fletcher’s writing adds to the heart of the show, feeling comforting while bringing a cheeky playfulness to the lyrics. ‘The Explorer And The Bear’ and ‘The Rhythm Of London’ are destined to become classics, with the newly released touching number ‘One Of Us’  already generating talk of being this year’s Christmas number one. That isn’t a surprise considering Fletcher’s own track record with making music, though his first foray into a West End musical is surprisingly smooth, demonstrating his incredible talents as a composer and lyricist and creating a score that stands up alongside the other greats currently playing in the West End.

Swale’s writing and Fletcher’s music are amplified by Luke Sheppard’s phenomenal direction. I mentioned before how this production felt like a labour of love, and these three talented creatives are at the heart of that. Clearly all in alignment with how best to realise their vision, they have created an absolute spectacular that somehow manages to fuse fantasy and a harsh reality to create pure escapism. Most shows are lucky if they can claim to have one showstopper - Paddington The Musical has an abundance of them. They really keep on coming thick and fast, with ‘The Rhythm Of London’ up there with the very best you will see in any other show. With Ellen Kane’s sensational choreography, the musical numbers wow at every turn, with ‘It’s Never Too Late’ another standout, and Act Two opener ‘Marmalade’ the perfect example of the very best of theatre. I struggle to think of a sequence as equally joyous as this fabulous five-minute sequence, with what may be the biggest grin that has ever been plastered on my face.

It is the comedy that is infused throughout that makes Paddington - The Musical such a roaring (again, sorry) success. From the hilarious characterisations to the over-the-top and exaggerated nature of the story, to the finer details, it ensures the next laugh is never far away. From a character coming on to a musical number far too late to the incredible visual gags, and the thrillingly chaotic ‘Don’t Touch That’, this is a show that wants to make you feel, but mostly make you happy. To that end, I laughed, I cried, I had the time of my life.

Paddington - The Musical also boasts what may be the greatest set design I have seen in some time, with Tom Pye’s impeccably detailed set transporting audiences to Paddington’s world, be it the ill-fated Brown residence to the Natural History Museum to even the Savoy Hotel in a nice meta reference. The visual design impresses consistently, elevated by some incredibly creative touches from Ash J Woodward’s outstanding video design and animation, refusing to be limited by the constraints of the stage and exploding all around the theatre. Stunning lighting from Neil Austin and costumes by Gabriella Slade ensures this is a production that ticks all the boxes, making it a feast for the senses and always a lot of fun to look at.

The design of Paddington himself is inspired, with Tahra Zafra creating something fresh and innovative, with another scene-stealing puppet also present. Arti Shah dons the Paddington costume, while James Hameed provides the voice, both speaking and singing. This is a choice that works exceptionally well, with Hameed capturing the essence of the character and delivering lines and vocals in a way that makes it impossible not to fall in love with. The way Hameed himself is introduced both to the audience and the bear is a great example of what makes this musical so special, and why it works as flawlessly as it does. I don’t want to spoil anything in these moments, as it needs to be experienced for yourself but, safe to say, it tugged at the heartstrings. 

This musical may have one of the greatest casts in the West End right now, if not the single greatest cast. Each of them leaves their mark on the stage, with many getting their own time front and centre in the spotlight. Adrian Der Gregorian and Amy Ellen Richardson are fantastic in their roles of Mr and Mrs Brown, with Richardson getting a beautiful musical number in ‘Everything You Never Were’. Teddy Kempner has a warm presence as Mr Gruber, while Brenda Edwards delights in dual roles of Tanya and the voice of Aunt Lucy, beautifully created on stage through some inspired effects.

Victoria Hamilton-Barritt is back to her villainous best as Millicent Clyde, scowling and prowling around the stage in a way that only she can, creating a questionable character you love to hate, but love all the same. Her big Act One number, ‘Pretty Little Dead Things’ is an instant classic, feeling in the same vein as Ursula’s ‘Poor Unfortunate Souls’ from The Little Mermaid. Hamilton-Barritt is clearly having the time of her life in this role in a performance that manages to be menacing, fabulous and just a little bit camp. By her side is Tarinn Callender as Grant, a character who is initially underused but comes into his own in a fantastic way, forming an unlikely double act with another West End legend.

That legend is Bonnie Langford, in fine form here, even managing to self-reference in her hilarious turn as standout character Mrs Bird. Every one-liner she has is comic gold, with Langford clearly loving every minute of being in this production. Her inevitable number comes quite late in the show, fittingly called ‘It’s Never Too Late’, showing what has made Langfors such a force in the industry, and of course featuring the obligatory splits. It wouldn’t be a Bonnie Langford appearance without them, after all. Ben Redfern is another comic highlight as Hank the Pigeon, bringing a bit of Cockney to a show where London feels like a character in itself.

There are two more standouts among the sensational cast. The first is Amy Booth-Steel in several seemingly minor roles, all scene-stealing. It is in her growing character of Lady Sloane, however, that she really shines, with her rather unique way of pronouncing words growing increasingly hilarious and reducing the audience to fits of laughter throughout. A performance that is comic gold, her Lady Sloane is one I will always remumber. Tom Edden is no stranger to scene-stealing turns, as I have mentioned in multiple reviews in the past, but he is at his best as Tony with a character that regularly breaks the fourth wall, responding to the audience and bringing an abundance of laughs with every appearance. A performance that can only be described as a comic masterclass, you might be coming to this musical for Paddington, but you’ll stay for Tony.

How do you take one of the most beloved children’s characters and do it justice? Exactly how it has been done in Paddington - The Musical is the answer. This may be the biggest musical of the year, but it is also the best. Not just the best musical of the year (though it easily takes that crown), but the best British musical in many a year. I have seen some incredible musicals in the last few years, but this takes the cake… or should that be a marmalade sandwich? Honestly, it feels like five stars is not enough for this absolutely amazing show - if six stars was an option, Paddington would easily get it.

Paddington - The Musical is everything theatre should be and more - just magical in every sense and the perfect reminder of the power of an exceptional show. I can’t think of a single way this show could be any better or any elements that are less than perfect - in fact, that is the best word to describe this awe-inspiring show. Paddington is perfect! It really feels like an instant classic has been born, and one that is guaranteed to thrill audiences for years to come. At one point in the show, flyers with “Have you seen this bear?” form part of the show, and if you haven’t see this bear yet, you really ought to. One thing’s for certain - now that Paddington is in the West End, London will be looking after this bear for a very long time.

Paddington - The Musical plays at the Savoy Theatre. Tickets available here

Photos by Johan Persson