Arti Shah in the title role of Paddington The Musical, 2025 (c) Johan Persson
Tom Fletcher: Paddington The Musical
Savoy Theatre, London, December 1, 2025
“Triple threat!” cries Mr Curry (Tom Edden), the formerly mean-spirited neighbour in Paddington The Musical, as he finally sees the light and finds his dancing legs. The phrase will be lost on the children eagerly watching their favourite bear come to life on stage. But the showbiz in-joke – he can act, he can sing, he can dance – illustrates one of the many levels on which this eagerly awaited show works.
And boy, does it work. Self-aware but soft-hearted, commercial but not cynical, it is as much a showcase for Britain’s massively important arts and entertainment industry as it is for the swinging, singing, London it so enthusiastically portrays. True, the show relies heavily on the first Paddington film, released in 2014, and so lacks out-and-out originality, but it makes up for this with boundless energy and theatrical inventiveness.
Tom Fletcher’s score bowls along pleasingly enough, with some big pastiche numbers that unleash seemingly limitless moves in the choreography of Ellen Kane – see more of that across the river in the National Theatre’s outstanding Ballet Shoes. “Pretty Little Dead Things”, belted out by Victoria Hamilton-Barritt as villain Millicent Clyde, is a Tina Turneresque banger that gets the big treatment, and the Act Two opener “Marmalade” cues a Busby Berkeley spectacular with disguised Hamilton-Barritt reluctantly converted into a backing singer. Fletcher’s lyrics land squarely enough, shot through with respect for others and delivered by a refreshingly diverse cast.
James Hameed voices Paddington. (c) Johan Persson
The musical of the film of the books tries to keep author Michael Bond in sight: Mr Curry’s taxi with its sky-high fare and registration THX MB 58 nods gratefully to the year that Bond brought Paddington into the world. But the show clings closely to the film, in the sure knowledge that this will be even better known worldwide than Bond’s many Paddington titles. And worldwide awareness counts – tourists to London from overseas are going to love this show, which for all its fast-moving content essentially requires no knowledge of English to be enjoyed, because the story is told so well in music, movement and visual effects. And a global franchise must be somewhere on the horizon.
In the meantime, back at the Savoy, Paddington appears within minutes of the show opening without a lingering overture but, bang, straight into Mr Gruber’s old curiosity shop where a young browsing customer is intrigued by a small toy bear. This is the envelope for the familiar story of lost and found. At Paddington Station, heedless passengers bump and crash until the waddling bear is revealed in the throng.
Victoria Hamilton-Barritt gives it everything as villain Millicent Clyde. (c) Johan Persson
Hard-working James Hameed as the young man briefly voices Paddington on stage, then retreats to the wings from where he still gives a very impressive performance, not only voicing on-stage Paddington (Arti Shah at most performances), but remotely animating his facial features to chime with the lyrics and the bear’s expressive body.
When Paddington is taken home by the Brown family, he meets West End royalty – Bonnie Langford as colourful Mrs Bird. With her high kicks, splits and big voice, Langford can amaze. But hold on – she is only 61. It’s just that she’s already been in the business for 55 years… At the other end of the scale, Timi Akinyosade makes an engaging West End debut as the poetic suitor of permanently embarrassed teenager Judy Brown (Delilah Bennett-Cardy).
Bonnie Langford as Mrs Bird. (c) Johan Persson
Gabriella Slade’s vivid costumes, a top-notch ensemble, principals, characterful cameos, and the hard-working band under Laura Bangay complete the line-up. Director Luke Sheppard leaves no marmalade unspilled, no vase unbroken in the madcap, slapstick sequences played out on Tom Pye’s lively set.
The show’s overriding theme is “Everyone is different and that means everyone fits in.” Only the polls will show whether warm applause for that sentiment translates into daily life and beliefs. But either way, Paddington The Musical will probably run for the rest of my life. And yours.
Paddington The Musical is booking at the Savoy Theatre, London, until 25 October 2026