There is a particular challenge in adapting a character as cherished as Paddington Bear for the stage. Nostalgia can be a trap, and sentimentality a crutch. What Paddington The Musical achieves, however, is something far more ambitious: a musical that honours Michael Bond’s creation while speaking to contemporary audiences with wit, warmth and sophistication.
The story, adapted by Jessica Swale from Bond’s books and inspired by the 2014 film, sees Paddington forced to leave his home in Peru due to an earthquake. Missing Aunt Lucy and clutching his suitcase, he arrives in London seeking safety and belonging. The Browns take him in, but Millicent Clyde, a villain with a taste for taxidermy, plots to stuff him and display him in the Natural History Museum.
What follows is a thrilling rescue mission that brings Windsor Gardens together. The narrative has the exuberance of a festive adventure and borrows lightly from traditional theatrical humour, yet it never feels like a pantomime. It is firmly a West End musical, peppered with jokes that soar over children’s heads without alienating them. For younger audiences, it is a story of kindness and adventure. For adults, there is a quiet metaphor for migration, an outsider searching for a home, handled with such lightness that it never drifts into politics. It simply asks for empathy, and in doing so feels profoundly relevant.
Visually, Luke Sheppard’s production is a triumph. Tom Pye’s set design is elaborate without ever overwhelming the story. The Browns’ home is rendered with storybook charm, while the Natural History Museum scenes are spectacular. Ash J Woodward’s projections and animation are not just decorative but integral, creating a London that feels alive and inviting.
Neil Austin’s lighting and Gabriella Slade’s costumes complete a world that is both sumptuous and playful. Paddington’s first appearance, designed by Tahra Zafar and animated through a fusion of puppetry and performance, is a moment of pure theatrical magic. It drew tears from more than one audience member at the press performance.
The team responsible for casting have done an incredible job here. Amy Ellen Richardson gives Mrs Brown a warmth and vocal clarity that anchors the family dynamic, her solo numbers among the evening’s highlights. Adrian Der Gregorian brings an uptight charm to Mr Brown, while Delilah Bennett-Cardy and Jasper Rowse as Jonathan (at this performance) capture youthful energy with ease. Bonnie Langford is a joy as Mrs Bird, her sensational song-and-dance number compensating for an exaggerated Scottish accent.
Victoria Hamilton-Barritt revels in villainy as Millicent Clyde, managing to be entertainingly vicious rather than frightening. Amy Booth-Steel is a comic force of nature, her turns as Lady Sloane and Mrs Hachoo leaving the audience howling with laughter, while Tom Edden’s Mr Curry is a masterclass in audience rapport.
The portrayal of Paddington is a feat of theatrical ingenuity. Arti Shah’s physical performance imbues the bear with grace and vulnerability, while James Hameed, operating off-stage, provides a vocal performance of astonishing nuance. It is unusual for a lead to remain unseen for so much of the production, yet through Hameed’s expressive vocals, Paddington’s personality shines vividly in every moment. His delivery of lines and songs is so rich that it may well be one of the performances of the year.
Tom Fletcher’s score is irresistible. Songs such as “The Explorer and The Bear” and “One of Us” are instant classics, the latter already tipped as a contender for Christmas Number One. A recurring motif of home threads through the music, reinforcing the story’s emotional core. Big ensemble numbers like “The Rhythm of London” burst with energy, Ellen Kane’s choreography blending athleticism with playful precision. The musical identity is strong and distinctive, celebrating the best of British culture while remaining universally appealing. The choreography is more athletic than expected, and Paddington’s movement is cleverly integrated so the costume never feels restrictive.
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.
In a West End crowded with revivals and jukebox fare, this is the best new musical in years. A high-energy, lovingly crafted crowd-pleaser that will delight locals and tourists alike. Paddington has found his perfect home on stage, and it is glorious.
Listings and ticket information can be found here
