Social media exploded last month when the first images Paddington: The Musical were released in London and internet users immediately went crazy over how incredibly adorable little Paddington Bear looked on the big West End stage.
So, obviously, I had to head to the Savoy Theater to see Paddington in all his glory in person – and the whole experience was even more magical than I ever imagined.
For reference, the musical's plot is inspired by the 2014 film, in which the Brown family discovered a missing bear from Peru at Paddington Station after being sent there by his aging Aunt Lucy in hopes of a better, safer life. As you can probably imagine, chaos ensues, the jelly beans are consumed, and trouble is around the corner when vengeful villainess Millicent Clyde sets her sights on the bear, giving the Browns the opportunity to rescue it.
The story is adapted for the stage by Olivier Award-winning writer Jessica Swale and directed by Luke Sheppard, with McFly's Tom Fletcher providing a truly brilliant set of songs and lyrics. Their work fits together so seamlessly that it feels like this show has been around forever, and yet the timing of it right now somehow feels painfully necessary.
But before we get into that, we need to talk about the rest of the show – starting with the production, which is honestly simply impressive and full of surprises that enhance the overall experience. I won't spoil them for you, but I will say that at one point, while sitting in row D of the stalls, I unexpectedly received a splash of water in the face. And honestly? It was the perfect little touch that made the whole thing even more amazing.
There are always those hilarious moments for the audience that take you completely by surprise, as well as clever stage decisions that somehow manage to be both magical and deeply emotional, like the way Aunt Lucy is woven into the play without a second bear puppet.
And then there are songs. Oh my God, these songs. Several times throughout the show, I found myself having a bit of an existential crisis about the fact that some people are so talented that they accidentally create entire musicals, so good, out of their brains—songs that are simultaneously funny, theatrical, meaningful, and narratively rich. From the chaotic “Don't Touch It” to the traditionally theatrical brilliance of “Little Dead” and “It's Never Too Late”, right through to the absolutely stunning production number all about marmalade, this is an insanely impressive cast with each character getting their moment to shine.
As an OG McFly fan, I've been enjoying the fruits of Tom Fletcher's incredibly creative mind for over two decades now, and he doesn't disappoint. In fact, even though I had ridiculously high expectations of myself, he still exceeded them – keeping me laughing out loud, gasping and crying for two hours and forty minutes, with some of his witty one-liners (*cough*)If being a mom was easy, dad would do it!“), still living rent-free in my head after just one listen.
The skillful combination of songs and script means that each character feels fully formed, well-rounded and perfectly cast. Adrian Der Gregorian even manages to breathe real warmth, humor and nuance into the famously grumpy Mr Brown in a way that never feels forced or caricatured, and Amy Ellen Richardson is simply flawless as Mrs Brown with her heart of gold. The whole show walks a nice tightrope where it's funny without being slapstick or cheap, and emotional without feeling manipulative or overly serious.
And now for Paddington himself – a miracle. Miracle. A complete theatrical marvel that will have every audience member shedding tears because of how damn adorable it is.
First, the logistics: Paddington comes to life thanks to two performers: Artie Shah, who is on stage in an enhanced puppet suit, and James Hamid, who voices him and controls his facial expressions from behind the scenes. The way these two work together is truly stunning. The emotions conveyed through the puppet—tiny blinks, subtle movements of the mouth, delicate tilts of the head—are so precise and so real that they border on the incredible. The attention to detail is stunning and absolutely nothing is overlooked.
I also deeply appreciate that both artists are receiving due recognition. The show opens with James on stage mimicking Paddington's moves before he disappears into his booth, away from the public eye, and at the curtain call, Artie makes his well-deserved bow out of Paddington's costume, meaning the audience gets to see and appreciate the man behind the bear. This level of transparency and creative respect seems rare and truly special, and it only heightened my appreciation of how extraordinary this collaboration is.
As for the novelty of seeing Paddington on stage… it never, ever wears off. At the first moment of his appearance, there is a collective wave of sighs, amazement and enthusiastic applause – and this delight does not fade for a second. Heck, I'll even admit that there were times when I looked at him on stage, not doing much, and honestly wanted to cry at how precious he was. Somehow he's even cuter than any photograph would suggest, and I felt a strangely intense love and protectiveness towards this little bear – which, frankly, might be the point, given that it becomes London's (and the public's) new responsibility to look after him.
But while the production is gorgeous, fun and carefully crafted, there's something heavier buzzing beneath the surface. After all, watching a little outsider come to London in search of safety and a better life feels very different in the current political climate, and while the show never becomes preachy or overly self-aware, the emotional resonance is largely intentional. If you get through Dear Aunt Lucy without crying, I admire your emotional fortitude because I was just a mess.
Overall, I went into this show with incredibly high hopes; I loved this movie, had heard rave reviews, trusted Tom Fletcher implicitly, and already knew the puppet looked adorable, but I have to admit I still had some quiet misgivings. Will it be too elegant? Too cute? Too far-fetched? Too annoying? But none of these fears ever materialized.
I'm happy to confirm that the team was fully up to the task. They've created something truly wonderful, charming and unexpectedly moving, and if you're ever in London I can't recommend enough that you see it for yourself. To sum it up, Paddington: The Musical is long overdue, desperately needed and a theatrical masterpiece – and I have absolutely no doubt that London will welcome Very good care for this bear.
Paddington: The Musical is currently booking tickets at the Savoy Theater in London until 25 October 2026. Click Here ticket information!
