Review: PADDINGTON THE MUSICAL, Savoy Theatre

Paddington the Musical arrives at the Savoy Theatre with a heart full of hope and a suitcase packed with marmalade flavoured charm, delivering a joyous celebration of inclusion, diversity and equality in every beat. Directed with warmth and wit by Luke Sheppard, this world premiere production honours the legacy of Michael Bond’s beloved bear, by amplifying what has always been at the core of his story, which is the belief that everyone deserves a home.

The staging is instantly magical. Regal cabinets and a glass case contain a very special and distinctive red hat to create a museum of memories, which invites the audience to step into Paddington’s world. The surrounding walls glow with a story filled sky, which holds London landmarks blending with models of creatures floating overhead. As the set sweeps away, Tom Pye’s striking design reveals a wonderfully intriguing shop of curiosities where lost things are treasured. London is full of stories and wonders, when one chooses to look and listen.

James Hameed’s portrayal of the famous bear is stunning, as the voice of Paddington and as a remote puppeteer alongside Arti Shah who wears the suit as the onstage performer, capturing the physicality spectacularly. Together Hameed and Shah create a bear who is both tender and determined. Their symbiotic performance is a masterclass in collaborative artistry and embodies the show’s embrace of difference with generosity and grace. The alternate Paddingtons, Abbie Purvis and Ali Sarebani, complete a casting approach which celebrates varied physicalities and backgrounds, and which affirms that Paddington’s spirit lives beyond any single form that the intrinsic values within the source material still hold true 70 years later. Tahra Zafar’s design work brings this rare bear to life with extraordinary detail, supported by Audrey Brisson and Phill Woodfine who shape the physicality and puppetry with deftness and depth.

The Brown family, played with real heart by Adrian Der Gregorian, Amy Ellen Richardson, Delilah Bennett Cardy, embody the joyful muddle of a modern household navigating change. Bonnie Langford is effervescent and acrobatic as Mrs Bird, whose wisdom often lands with the clarity of truth. When calamity unfolds across their home in a scene filled with bubbles, falling baths and the need for a frantic fire extinguisher, it becomes apparent that although Paddington never intends to cause trouble, chaos often follows.

Tom Fletcher’s music and lyrics shimmer with warmth, and Ellen Kane’s vibrant choreography celebrates the joyous rhythm of London with post boxes, Queen’s Guards, a depiction of Borough Market and familiar silhouettes of the skyline. The production revels in Britishness while never losing sight of its deeper message that this city is built by countless cultures and stories. The moment Jonathan’s old blue coat completes Paddington’s iconic look, brings a collective sigh of joy from the audience.

Victoria Hamilton- Barritt is deliciously wicked as Millicent Clyde whose obsession with capturing a Peruvian Bear for her unpleasant collection of stuffed animals leads her to concoct Operation Marmalade (a cheeky nod to another excellent west end show), descending into sparkling orange mayhem. Her scenes offer sharp comic villainy, yet still sit within a narrative which resists simple binaries of good and bad. Her vocal depth and presence is glorious, sassy and assured. Mr Curry is played with humour and surprising heart, shifting from suspicion to courage, showing that bravery often begins with good example.

All scenes with Teddy Kempner as Mr Gruber are particularly meaningful and moving, for his story, wisdom and insights are a great source of overcoming adversity and heroism.

The Geographers Guild sequence offers one of the show’s most striking reflections on equality. When Paddington confronts the dismissive Lady Sloane, he reminds the Brown family that every voice deserves respect and that nastiness is no substitute for kindness. Amy Booth-Steel was particularly enjoyable as the hysterically haughty and self important Lady Sloane, with wonderful articulation.

The book by Jessica Swale is meaningful, insightful and inspiring, creating a story which uses special moments to introduce young audiences to ideas of bravery to counter prejudice, the importance of belonging, and the courage of speaking up, with care at the very core.

The production’s greatest triumph is its ability to present difference as something to be celebrated and embraced, rather than feared. Paddington’s journey from an earthquake ravaged home in Peru to the heart of Windsor Gardens is handled with sensitivity, which acknowledges displacement and hope in equal measure. Paddington’s endearing nature brings about friendship and loyalty from the neighbours, the cheeky pigeon, the acceptance offered by the Browns and the transformation of reluctant neighbours speak to the value of community and the belief that a warm welcome and good attitude can change the world we live in.

Gabriella Slade’s colourful costumes particularly in show numbers are vibrant and beautiful, Gareth Owen’s sound design and Ash J Woodward’s video and animation combine to produce a visual feast. When Mary Brown dreams of becoming a comic book hero, the stage erupts in vibrant panels which celebrate both imagination and empowerment. Her line which challenges the easy assumptions about motherhood brings both laughter and recognition.

As the Browns face lasers, guards and countless dangers to rescue their bear, the musical affirms its central message with clarity. Being different is not a problem. Difference is what builds families, strengthens communities and shapes a better world. The audience leaves with a truth which endures long after the final note. Kindness is never complicated.

Paddington the Musical is the most important children’s musical of its day, for its messaging on kindness, inclusion and belonging.

Paddington the Musical is a shining triumph. It is generous, courageous, wildly imaginative and rooted in a belief which feels especially vital today; that home is something we build together. This production does not simply bring Paddington to the stage, it brings heart, compassion and kindness to us all.

Read our interview with Paddington the Musical book writer Jessica Swale here.

Paddington the Musical is currently booking at the Savoy Theatre until 25 October 2026

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