Paddington the Musical AT THE SAVOY THEATRE, LONDON

Look after this mar ma mar ma mar ma mar ma marvellous bear!!

Right now, the name on everyone’s lips in the West End is Paddington. We’ve seen the delightful puppet across our TV screens and the production has received glowing reviews, but does it truly live up to the hype? With expectations set so high, there’s always a risk of disappointment so I had hoped the show would be just as impressive as the puppet itself. What I experienced was two-and a-bit hours of pure joy, uplifting, heartwarming and full of wholesome fun that quite frankly, you cannot be disappointed by this production.

The production largely draws on the much-loved 2014 Paddington film. It follows Paddington Bear as he arrives in London in search of a new home, all while being pursued by the taxidermist Millicent Clyde, who dreams of stuffing a Peruvian bear. The storyline shares similarities with Mary Poppins, centring on a family in turmoil who rediscover what it means to be a family with the help of an unexpected visitor. It’s an incredibly heartwarming story, and fans of the film will be delighted to see many of its most memorable moments brought to life on stage, from Paddington’s chaotic mishap with the bathtub to toothbrushes in his ears and, of course, the iconic hard stare. At the same time, the show has been thoughtfully developed by Jessica Swale so it feels fresh and original, rather than simply a retelling of the film with songs added.

From the moment you step into the auditorium, the staging already makes a striking impression. Dominating the space is the large red exterior of Mr Gruber’s shop, while the stage is framed with an array of museum-like curiosities, model ships, skeletons and taxidermy animals such as a dodo and a crocodile. These details not only reflect the varied offerings of Mr Gruber’s shop, but also subtly foreshadow the story’s villain and her plan to stuff Paddington. Tom Pye’s scenic design remains stunning throughout, seamlessly transporting us from the Browns’ home to the streets of London and even the rainforests of Darkest Peru. It’s refreshing to see a production that relies largely on physical set pieces rather than the increasingly common use of digital screens. That said, when projection is used, most notably as the set transforms into a lush covering of leaves for the transition to Peru, the effect is stunning.

Photography by Johan Persson

The music and lyrics are by Tom Fletcher, best known as a member of McFly. While the band is known for its pop success, Fletcher has also demonstrated real talent in musical theatre. I’ve especially enjoyed the songs he composed for his children’s book The Creakers. It’s fantastic to see him take on a production of this scale. The score is nothing short of excellent, ranging from sweeping, emotional ballads to lively, playful numbers. Every song feels like a standout, which came as a pleasant surprise, I had wondered if the show might lean too heavily into being “kiddy,” but that’s far from the case. The music is smart, well-crafted and sits comfortably within the world of full-scale musical theatre. The Act Two opener, “Marmalade,” is particularly catchy and this earworm is guaranteed to stay with for weeks! Fletcher has more than proven himself here, and I hope to see him write for more productions in the future.

Playing the role of Mrs Brown is Amy Ellen Richardson who delivers an incredibly powerful performance, she is charming, instantly likeable and endearing. Her character is warm, nurturing and calming, yet she is given moments to truly shine. In particular, her rendition of the number “One Page at a Time” is both moving and commanding, showcasing stunning vocals in this emotional ballad. Amy’s interpretation of Mrs Brown is perfect; you can’t help but love her. Equally endearing is Adrian Der Gregorian as Mr Brown. While his character is initially more hesitant to welcome Paddington into the family, he portrays the baffled, slightly lost father with a perfect mix of humour and exasperation. Mr Brown may not have as many opportunities to display vocal range as Mrs Brown, but his comedic moments balance this, making him a joyful and likeable presence on stage. At the performance I attended, Delilah Bennett-Cardy and Jasper Rowse played Judy and Jonathan Brown and I was very impressed by their performances. Both young actors commanded the stage with confidence, matching the adults in both comedic timing and vocal performance. Their energy and skill were remarkable and a delight to watch. Overall, the entire Brown family is cast brilliantly.

As Mrs Bird, stage icon Bonnie Langford brings a delightfully quirky energy to the role. Much of the humour comes from ongoing jokes about the many careers she’s had over the years, which are particularly funny in the second act when she mentions that she was once a “West End Legend” and launches into the dazzling number “It’s Never Too Late.” The performance is a showstopper, featuring high-energy choreography, powerhouse vocals and even the splits! I did wonder whether future castings would need to bring in similarly iconic West End performers for the joke to land or if the script would just be adapted, but for now, the joke is a hit! Bonnie herself is nothing short of legendary, her performance is quick-witted, high-energy and simultaneously tender and loving. On stage, she radiates true star quality, yet never overshadows anyone, always sharing the spotlight with the rest of the talented company.

Photography by Johan Persson

At the performance I attended, the show’s villain, Millicent Clyde, was played by Jacqueline Hughes and what a performance it was! Her first appearance comes during the catchy supervillain number “Pretty Little Dead Things,” and from the very start, Hughes establishes a brilliantly menacing persona. Think Miss Trunchbull meets Cruella De Vil, slightly unhinged, devilishly wicked, yet never tipping into pantomime. Her vocals are astonishingly strong, and her comedic timing is flawless. Remarkably, Hughes was performing as an understudy, yet she proved that understudies are far from “second best.” Her portrayal was the highlight of the entire show for me, capturing my attention from the very first moment. If you attend a performance where Victoria Hamilton Barrett isn’t performing, don’t be disappointed you’re in for a real treat with Hughes.

There are far too many excellent performances to mention in full, from Teddy Kempner as Mr Gruber to Brenda Edwards as Tanya and Timi Akinyosade as her son Tony. Every performer in this production is impressively strong and a genuine joy to watch. However, there are two performances that nearly steal the show for me: Tom Edden as Mr Curry and Amy Booth-Steel as Lady Sloane. As Mr Curry, Tom Edden continually builds on his character as the show progresses. Initially introduced as the local taxi driver and neighbourhood watchman, he is delightfully pedantic and fussy in the most entertaining way. He feels almost like a caricature, brought to life with animated energy. At first, I assumed Mr Curry might be a smaller, cameo-style role, but as the story unfolds, he becomes increasingly involved and increasingly ridiculous in the best possible way. Amy Booth-Steel’s Lady Sloane, a member of the Geographers’ Guild, is equally memorable. She first appears as the one preventing Paddington and the Browns from entering the guild and quickly becomes a comedic standout. Her exaggerated accent, deliberately mispronouncing words, such as calling members “mumbers” never fails to get a laugh. Her performance feels reminiscent of a character you might see Catherine Tate portray, with its silly, over-the-top style and wonderfully expressive facial reactions that add to the humour. Both performances had me laughing throughout, and I suspect “mumber” might just find its way into my everyday vocabulary!

And of course, the bear himself, Paddington, is brought to life in a truly magical way. This is no ordinary puppet! Within moments, you completely believe the bear on stage is real. Tahra Zafar, who created the puppet, has done an extraordinary job, creating a design that is lifelike and utterly adorable. While it can be simpler to stage puppetry with a visible performer, as seen with characters like Timon in The Lion King or Olaf in Frozen, this creation is something else entirely. Paddington appears as a full life-size figure, with a moving mouth perfectly synced to dialogue, a twitching nose and blinking eyes, all combining to create something remarkably realistic. The performer inside the costume is an actor with dwarfism who brings incredible physicality to the role. At the performance I attended, Paddington was played by Hassan Taj, making his West End debut, and he delivered a truly impressive performance. Given that Paddington is on stage for the majority of the show, the role is incredibly demanding, particularly because of the challenges of the costume. It’s also wonderful to see such thoughtful inclusion and representation integrated into the production.

Photography by Johan Persson

Providing the voice of Paddington is James Hameed, whose gentle, warm tone is perfectly suited to the character. The score also allows him to shine vocally, particularly in “The Explorer and the Bear,” a beautiful musical theatre ballad that showcases his high-note hitting tenor range. I was especially impressed to learn that Hameed also controls the remote puppetry for Paddington’s facial expressions, demonstrating that his performance goes far beyond simply voicing the role into a microphone. This shared approach to bringing Paddington to life feels wonderfully inventive and is a perfect example of the kind of magic that theatre can do.

Overall, Paddington the Musical more than lives up to the hype. It’s magical, heartwarming and musical theatre at its best. It’s easy to imagine the show enjoying a long run, it certainly deserves to be around for many years to come. In a world that can feel dark at times, the note on Paddington’s coat reading “please look after this bear” feels especially poignant, as this production, in turn, lifts your spirits and looks after us.

⭐⭐⭐⭐⭐

SEAT REVIEW

Location: Stalls, Seat K17

The view of the stage from this seatis excellent, you can see the entire stage clearly and the rake in the stalls is a little more tiered than usual which helps ensure that even if someone tall sits in front of you, your view won’t be obstructed. However, there are quite a few stairs to navigate both to reach the stalls and the restrooms, so it may not be ideal for those with accessibility needs. Additionally, there is only one entrance to the row, meaning if your seat is at the far end, you’ll need to walk across the entire row to reach it.