Review Roundup: PADDINGTON THE MUSICAL in the West End

Paddington The Musical opened at the Savoy Theatre on the West End, marking the official start of the world premiere run of the new musical, and reviews are rolling in.

The show features an actual Paddington onstage, a feat accomplished by a whole team of performers and puppeteers. Paddington is played by James Hameed (Paddington Off-stage Performer and Remote Puppeteer) and Arti Shah (Paddington On-stage Performer). The team behind the bear are Tahra Zafar (Paddington Bear Designer), Audrey Brisson (Bear Physicality Associate Director), Phill Woodfine (Remote Puppetry Coach) and Annabelle Davis (Paddington Bear Casting Director). The Alternate Paddington On-stage Performers are Abbie Purvis and Ali Sarebani.

Christiana Rose, BroadwayWorld: 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.

Adam Bloodworth, City A.M.: Technological inventiveness has gripped the headlines, but Paddington the Musical at its core is actually a fairly analogue musical experience, a fairly conventional piece of musical theatre that is sustainably quality without relying on particularly viral moments, gimmicks or tricks, instead Luke Sheppard’s overall show is a wholesome homage. Just nice songs, a decent ensemble and sharp, decently funny writing. What more could you want?

Sarah Crompton, WhatsOnStage: On stage, it works wonderfully, providing propulsive action, high comedy, and just the right dash of poignancy. Tom Pye’s designs, back by Neil Austin’s thrilling lighting, Ash J Woodward’s video design, and Gabriella Slade’s richly textured costumes, create a world where everything is possible, moving seamlessly from the domestic chaos of 32 Windsor Gardens to street scenes that unfold in effortless perspective and finally to the Gothic strangeness of the Natural History Museum, its famous dinosaur skeleton peeping out of the backcloth.

Katherine Cowles, Observer: It is irresistible; delicious and guilt-free. Here the politics of Paddington do not stand naively in the way of entertainment: for all the idealism, a Peruvian bear cannot make the world kinder, any more than the stage can offer perpetual sanctuary. But he will draw people – from near and far – to a city that is not short of loveliness, though the weary cannot see it. Soft power – that’s Paddington’s gift.

Sarah Hemming, Financial Times: And the production becomes intensely moving by the end. It defiantly gives our divided times one of Paddington’s famous “hard stares”. Above all, it’s about empathy and acceptance, joyously celebrating the role of theatrical storytelling in making those qualities manifest. It’s when Hameed and Shah step forward simply as themselves at the end, that it fully hits home: although its star is a small bear, this is really a show about humanity.

David Benedict, Variety: Fletcher’s music and lyrics are mostly more effective than fully affecting and are better at delivering states of mind than moving plot forward. But his comedy numbers are witty and, seized by the skilled cast, all the laughs land. And in an era where musicals too often topple over into high seriousness, the return of musical comedy is lapped up by the audience, nowhere more so than in one of the show’s highpoints, the Act Two opener.

Andrzej Lukowski, TimeOut: The songs by McFly’s Tom Fletcher are very decent: none are sidesplittingly funny, though there are some nicely droll numbers about London, marmalade and whatnot. The heart of it actually lies in big sweeping ballads like ‘The Explorer and the Bear’ and ‘One of Us’ – they add a sense of yearning that nicely contrasts with the goofier action of the actual story. It’s a little short on bangers but there’s a good sprinkling of decent choruses.

Dominic Cavendish, The Telegraph: London has a new tourist attraction: at the Savoy, Paddington Bear has been brought to life in a funny, feel-good, family-friendly musical that looks set to run and run.

Marianka Swain, London Theatre: There are gleeful stagey in-jokes: Edden correctly boasts that he’s a “triple threat”, and Langford reminds us she was in Cats. That’s all of a piece with a production that wears its theatricality proudly: this is the Paddington we love, but reborn in a distinctly new medium. It invites a live audience in to become part of the story. It’s also a musical with a hero, and a message, that feels more important than ever to emulate – “Kindness isn’t complicated”. I tip my hat to Paddington: the small bear is a big hit.

Greg Stewart, Theatre Weekly: Paddington The Musical is not content to be glossy family entertainment. It is a work of sincerity and craft, a production that captures the spirit of the books without leaning on nostalgia. It speaks to values that feel urgently needed in a fractured world: kindness, community, resilience. It makes you laugh, it makes you proud of London, and it leaves you craving a marmalade sandwich. Children sit transfixed, adults leave charmed, and everyone feels a little better about humanity.

Alice Saville, Independent: If you think all this doesn’t exactly sound like classic family show fare, you’d be entirely right. But somehow this production’s edgier, darker touches only heighten the gorgeously bright palette that this story is working in. Sheppard’s staging abounds with warmth, eccentricity and ambition, from its huge-hearted musical numbers to costume designer Gabriella Slade’s cosy multicoloured knitted get-ups. Like a big game hunter, it aims at huge moving targets – and hits them, again and again.

Lisa Martland
, Musical Theatre Review: This is a production where every detail seems to have been considered and that continues with a design that spreads beyond the proscenium arch and is so busy and colourful that it almost verges on the overwhelming. What I particularly love about the concept is the coordination between eye-catching and inventive costumes (Gabriella Slade), actual jaw-dropping sets (Tom Pye), video design and animation (Ash J Woodward) and illustration and additional animation (Majid Adin), all brilliantly lit by Neil Austin. No one element dominates.

Sam Marlowe, The Stage: Irresistible ursine antics make a hit of this new musical based on Michael Bond’s beloved creation.

Clive Davis, The Times: Fletcher’s nimbly crafted songs come with deft lyrics and, occasionally, sleek harmonies that wouldn’t be out of place on an early Queen anthem. One of Us brings the first act to a thunderous conclusion, Don’t Touch That is the jaunty backdrop to a string of domestic mishaps. Just when the score starts to feel lacking in variation Marmalade opens the second act with a cheerful waltz tempo adorned with big-hearted choreography by Ellen Kane.

Tim Bano, The Standard: So, yes, that bear. He’s been the subject of much speculation over the last months as people puzzled how they’d conjure him in real life without making him look naff. Designer Tahra Zafar solved the problem. Made up of two performers – James Hameed providing a lovely gentle voice offstage, not unlike Ben Whishaw’s in the film but with an extra naivety, and Arti Shah in a ridiculously cute bear suit with animatronic eyes and mouth – he is uncanny in a very beautiful way. In the few moments the show slackens, you just need to look at the bear to marvel all over again. He’s got to be one of the most wonderful theatrical creations of recent years, up there with the War Horse puppets or the billowing dress during Defying Gravity in Wicked.

Arifa Akbar, The Guardian: Sure it is full of schmaltz and cliched Englishness – Beefeaters, church bells, men with umbrellas, and dustbin men who look like Dick Van Dyke’s chimney sweep. But it is self-consciously done and knowingly verges on parody – Geographers’ Guild members march on to speak of empire and the Elgin marbles, as one example.

Olivia Garrett, RadioTimes: 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.

Daz Gale, All That Dazzles: Paddington’s story has been adapted for the stage by Jessica Swale with such care, it feels impossible to imagine any way this could have been done better. All of the heart and warmth you would associate with Paddington are all here in great supply, along with some fresh ideas that feel fitting for the theatre. Making theatre itself a small part of the story is an inspired touch, leading to a delightful show within a show routine, while a smattering of jokes designed to tickle adults will fly over the heads of younger audience members without the risk of them asking what it means, but ensures this is a show for everybody.

Patrick Marmion, Daily Mail: Normally such hits need a star, and here that star is surely the costume. Stepping out onto the Paddington station stage, the golden-fleeced, forest-dwelling Peruvian asylum seeker triggers waves of rapturous delight.

Chris Price, Shiny Shiny: Indeed, except for Paddington of course, it’s probably Edden’s role as Mr Curry that stands out more than any other in the musical. Although also noteworthy is ‘West End legend’ Bonnie Langford who plays The Browns’ Scottish housekeeper, Mrs Bird.

Michael Holland, South London: As soon as you walk in you feel something, there is a buzz of anticipation, the set warmly overwhelms while the projected graphics slink off the stage and along the walls to bring the Savoy Theatre to life. There are just a few children at this evening performance because this is Paddington the Musical and his fans stretch right back to 1958, and it showed in the audience age range.

Average Rating: 92.9%