Olivia Garrett

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.

Much like the orchestra Levant imagines, this show is layered and comes out in full force. Its themes run one after the other, from misogyny to TV censorship to mental illness, building up to a crescendo that encompasses everything from the exploitation of public figures to the uncredited influence of Black culture in music. Yet, while so many shows find themselves muddled by the noise of competing topics and in-your-face messaging, Good Night Oscar's string together in one note-perfect symphony.

This lustre-dusted show-stopper of a musical is everything you could want. Spangled, joyous and gloriously camp, it meets the challenge of adapting a show that's both Greek myth and classic '90s cartoon with plenty of gusto.

Are there moments when the runtime is felt? Yes. But in the end, this doesn’t matter one bit, as the blend of levity, heartbreak and sisterly bonds is enough to keep you sucked in. Overall, the Hills of California is a strong and deftly handled exploration of death and bereavement with the potential to resonate with anyone.