A New Paddington for the Stage
The moment Paddington Bear makes his entrance in this lavish new musical production at the Savoy Theatre proves unexpectedly moving. This isn't simply another adaptation; it's a complete reimagining that captures the essence of Michael Bond's beloved character while creating something entirely fresh for the stage.
The production employs a clever technical approach: performer Arti Shah operates the bear costume designed by Gabriella Slade, while James Hameed provides Paddington's voice and controls his facial expressions remotely from backstage. This innovative method creates a remarkably convincing presence, making audiences feel the polite bear from Peru is genuinely sharing the room with them.
This Paddington differs from both the recent films and the original books. He appears more teddy-like in design, and Hameed's voice sounds younger and more boyish than Ben Whishaw's cinematic portrayal. While he sings far more than his literary counterpart, the production successfully establishes him as fundamentally Paddington.
A Story Reimagined with Heart
Under Luke Sheppard's direction, the creative team has crafted an immensely enjoyable show. Writer Jessica Swale offers a stage adaptation of the first Paddington film that feels liberated from its source material. The production boasts a looser, more cartoonish atmosphere with greater physical comedy.
The core plot remains familiar – Paddington's arrival from Peru and his search for a new home with the Brown family – but characterisations and specific details often diverge effectively. The Brown family faces more pronounced internal troubles here, with Amy Ellen Richardson as the gutsy Mrs Brown and Adrian der Gregorian as the pedantic Mr Brown portraying a couple who have clearly grown apart.
This marital tension creates genuine stakes, suggesting the real danger isn't just the villainous taxidermist but the possibility Paddington might become homeless due to family discord. Victoria Hamilton-Barritt delivers a scene-stealing performance as the bonkers Natural History Museum taxidermist Millicent Clyde, though the narrative wisely identifies the Brown family dynamics as the central conflict.
Music, Design and Final Verdict
Tom Fletcher of McFly fame provides the musical numbers, which range from droll songs about marmalade to sweeping ballads like 'The Explorer and the Bear' and 'One of Us'. These larger emotional numbers add a sense of yearning that contrasts beautifully with the production's goofier physical comedy sequences.
The production design by Tom Pye transforms the Savoy Theatre's usual silvery glitz into a warm, junk-strewn environment that extends beyond the stage, creating an intimate setting perfect for a family-friendly show. Director Sheppard excels during the over-the-top set pieces, ensuring younger audience members remain thoroughly engaged with plenty of visual spectacle, including moments where things are dropped on or squirted toward the audience.
If there's a criticism, it's that the musical occasionally feels overstuffed. With numerous characters each getting their musical moments – including a talking Cockney pigeon and Tom Edden's enjoyable but panto-esque Mr Curry – the focus sometimes drifts from the central Brown family narrative. Despite this, when the maximalist approach works, it creates truly magical theatre.
Paddington the Musical runs at the Savoy Theatre, booking until October 25, 2026. It stands as a celebratory production about London, immigration, and multiculturalism, delivering a heartwarming experience that honours its source material while confidently establishing its own identity.
