Paddington The Musical Review: London needs this musical now more than ever

On his journey to becoming a national symbol it has become abundantly clear, a hundred times over, that everything Paddington Bear touches turns sticky, orange, marmalade-scented gold.

From record-breaking films, to being a part of the late Queen's Platinum Jubilee, to appearing on every postcard in London, it's almost unfair on other famous characters that Michael Bond's Peruvian Bear should add 'West End star' to his CV – while poor Winnie the Pooh became a horror movie.

When seeing Paddington the Musical this weekend I was almost expecting to see a chink in the blue duffle coat armour at last – thinking the pressure of bringing this British icon to life would be too much.

How glad I am to be wrong, because this show is simply wonderful.

From the minute Paddington enters the stage, the ensemble belting out his name in a pleasingly Hamilton-esque introduction, I sat with an ever-present pool of tears lining my eyes because he is so. Damn. Cute.

For those wondering, the role is a combination of on-stage performer Arti Shah and the off-stage voice of James Hameed, who also pilots the puppetry of Paddington's face. Their partnership, with Shah's excitable movements and Hameed's light, innocent voice, give off a palpable magic for kids and adults alike. Not since Les Misérables have I heard so many gasps and sniffles coming from a theatre crowd.

The story follows the same plot as the 2014 movie; A young bear migrates from the Peruvian jungle in search of a home in London, only to be found and taken in by the kind Brown family. While Paddington causes havoc at their home in Windsor Gardens, a troubled taxidermist is desperate to get her hands on him and finish her collection.

With music and lyrics by Tom Fletcher, the songs definitely carry McFly's brand of universal appeal, blending orchestral layers with fluffy pop and few healthy belters for good measure.

The ubiquity of the score means it could happily slot into many a musical, however, the songs are then elevated tenfold by Luke Sheppard's direction and Tom Pye's set design. A good example is the number 'Don't Touch That,' where Paddington arrives at the Browns' house for the first time and becomes overwhelmed by all the newness around him. In his excitement, Paddington runs from pillar to post, destroying the set with sparks, bubbles and, inexplicably, pieces of the ceiling raining down around him – it's a hilarious scene, made better by Mr Brown's (Adrian Der Gregorian) conniptions.

Another perfect moment is the second act's ode to marmalade – you knew they had to have that in there – where the entire stage is transformed into a sea of dreamy orange, complete with dance breaks, feathered hats and interaction from the crowd.

It is these moments of excess, that one message becomes clear: this is a musical that loves musicals. In a traditional style reminiscent of Cole Porter, Paddington isn't afraid to give you kick lines and hearty ballads, no doubt impacted by Tom Fletcher's upbringing in musical theatre. But, it seems to me the perfect way to introduce your child to the spectacle that musicals can really be.

Of course, none of this would work without the cast, who warmly float between cheer, sadness and sharp humour – there's certainly a few jokes only adults will enjoy – with all members earning their moment to shine.

It's hard to pick a standout, but for me it would be Victoria Hamilton-Barritt as the villainous Millicent Clyde, who somehow manages to be delightfully hammy and sympathetic, attacking the role with her deep vocals and unapologetically delivering the best song of the show.

Otherwise, I found Amy Booth-Steel's character Lady Sloane an unexpected and hilarious hit and Brenda Edwards' Tanya brought heaps of warmth and soul to the stage. And, of course, Bonnie Langford is a tour de force, reminding everyone of the West End legend she is with splits, high kicks and a staggering solo.

In any other show I would perhaps call out the shameless amounts of padding in act two, but considering I didn't stop smiling for two hours, I can let that slide.

Honestly, this show is exactly what it promised and more. Cutting right into your soul with its message of kindness, love and acceptance, it's a musical we need now more than ever. For anyone who doesn't like it, I'd advise you to have a good hard stare at yourself.

Buy Paddington the Musical tickets at LOVEtheatre

When and where can I see Paddington the Musical?

Paddington has found his new home at the West End's Savoy Theatre. The show is currently scheduled to run until October 2026.

The esteemed venue sits right on the strand, and is best travelled to via Charing Cross (on the Bakerloo and Northern Lines) or Leicester Square (Piccadilly and Northern Lines).

How to get Paddington the Musical West End tickets

Paddington tickets are now live at LOVEtheatre starting from £29, although be aware most of December is now sold out.

Buy Paddington the Musical tickets at LOVEtheatre

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