Theater Review
Paddington: The Musical
2 hours 40 minutes (1 break). At the Savoy Theater in London.
During a recent performance of Paddington: The Musical at London’s Savoy Theatre, I almost thought I saw the bear shed a tear.
Of course, that’s impossible. Paddington is just a puppet.
Yet, the craftsmanship behind this character, created by Tara Zafar, is so convincing that it’s easy to overlook his artificial nature. The audience might just find themselves wishing they could adopt him.
The artistry involved in bringing this beloved bear to life is impressive. It’s truly a powerful production.
This is a huge win for fans of the books and films. They needed to get Paddington just right, or else the whole thing could have fallen flat—or worse, been really awkward.
Luckily, the team nailed it. Paddington has become one of the hottest tickets in town and is arguably the best family musical in years, possibly since “Matilda.”
That said, the show isn’t quite polished yet. Some of the composition by Tom Fletcher and writing by Jessica Swale could use a bit more work. I noticed a few kids in the audience losing interest toward the end.
Still, it was an enchanting experience overall. Broadway would be envious of this heartwarming little bear, as nothing in New York quite compares to the success this show has enjoyed for over a decade.
Returning to Paddington, the character isn’t played like a robotic theme park attraction. He has depth and personality, thanks to the two performers behind him.
While the actress (Arti Shah) manipulates the suit, the actor (James Hameed, whose voice is pure gold) manages everything from singing to controlling Paddington’s expressions off-stage. This blend of technology and live performance works wonderfully.
It’s the adults trying to keep up the façade—not the kids—who feel the strain.
Fletcher’s clever pop score complements the script by Swale, striking a balance between humorous and wholesome.
If you enjoyed the first Paddington film featuring Ben Whishaw, this stage adaptation hits familiar notes while establishing its own rhythm.
A gentle bear hailing from “darkest Peru” arrives lost at a London train station and is taken in by the Brown family living nearby. They name him Paddington, after the station where they found him.
Mrs. Brown, played by Amy Ellen Richardson, yearns to become a comic book artist, singing a touching tune about her dream of “saving the world one page at a time.”
Her pragmatic husband, who works as a risk analyst, is understandably cautious about bringing a talking bear into their home.
Adrian Der Gregorian provides a humorously restrained take on Mr. Brown, bringing a relatable dad vibe to the show. Even when he attempts to loosen up at a party, he barely budges.
Delilah Bennett-Cardy shines as Judy, the rebellious teen, while young Jasper Laws impresses in his role as Jonathan, the brainy sibling who often invokes memories of Doogie Howser.
The score, crafted by Fletcher, varies more than one might expect, including a heartfelt anthem and a lively number celebrating marmalade sung with surreal imagery of humans dressed as oranges.
Another song, “Hard Stare,” features Paddington’s own version of “Eye of the Tiger.”
Among the notable characters is Mr. Bean, played by Tom Eden, and Mr. Curry, the taxi driver who provides plenty of comedic moments.
The head of the Geographers’ Guild, portrayed by Amy Booth-Steele, gets laughs by playfully mispronouncing common words, wrapping the performance in light-hearted whimsy.
Yet, the standout is the villainous taxidermist Millicent Clyde. Victoria Hamilton-Barritt’s captivating performance makes her a memorable character, particularly in her eerie song “Pretty Little Dead Things.”
While the musical has its lighthearted moments, it also features tongue-in-cheek humor, particularly from the quirky Mrs. Bird, played by Bonnie Langford, who breaks character comedic moments that leave some parts feeling a bit long.
Staging by Luke Shepherd features dazzling elements, like a flyer that says, “Have you seen this bear?” with impressive use of a water cannon during the show. It focuses on pure entertainment rather than merely flashy effects.
Ultimately, nothing can outshine Paddington himself.
When the talented Hameed performs “The Explorer and the Bear” in the first act, the portrayal is so lifelike that, for a moment, I genuinely thought, “Maybe Paddington really did cry.”
