Paddington Bear, the beloved character created by Michael Bond, has made a triumphant leap from page and screen to the West End stage, with critics and audiences alike singing the praises of Paddington the Musical. Since its premiere at the Savoy Theatre in London on December 1, 2025, the production has quickly established itself as a must-see family event and a contender for the next great children’s musical.
Adapted from both Bond’s original books and the 2014 film, the musical brings Paddington’s journey from darkest Peru to London to life with heart, humor, and a healthy dollop of marmalade. The show’s book, written by Jessica Swale, and direction by Luke Sheppard, have been widely applauded for capturing the spirit of the source material while updating it for a modern audience. The Guardian summed up the general critical mood by declaring the show “imaginatively staged, immaculately performed and utterly winning.”
Central to the show’s magic is the portrayal of Paddington himself. Rather than relying on high-tech projections or CGI, the production employs a clever combination of costume and puppetry. Paddington is played on stage by Arti Shah, who inhabits a meticulously crafted bear suit designed by Tahra Zafar. The bear’s expressive face is animated via remote control by James Hameed, who also provides Paddington’s endearing voice from the wings. As Time Out’s Andrzej Lukowski observed, “Which doesn’t sound groundbreaking but it’s enough to make us believe that Paddington is really in the room with us. Which is surely the point of the endeavour.”
The musical’s score, composed by Tom Fletcher of McFly fame, has also drawn enthusiastic reviews. The show is packed with toe-tapping numbers, from the villainous anthem “Pretty Little Dead Things” to the Calypso-infused “The Rhythm of London,” which transforms the stage into a vibrant, bustling city. Bonnie Langford, playing the Scottish housekeeper Mrs Bird, brings down the house with a high-kicking, music hall-style routine, while Tom Edden’s Mr Curry delivers comic gold in the psychedelic showstopper “Marmalade.” Olivia Garrett of Radio Times singled out this second act number as a highlight, describing how “the entire stage is transformed into a sea of dreamy orange, complete with dance breaks, feathered hats and interaction from the crowd.”
The production’s design, helmed by Tom Pye, immerses audiences in a fantasy version of London, complete with a life-sized black cab, red pillar boxes, Beefeaters, and even the Natural History Museum’s dodo and brontosaurus skeleton. It’s a visual feast that appeals to both children and adults, and as City AM’s Adam Bloodworth put it, “Luke Sheppard’s overall show is a wholesome homage. Just nice songs and a decent ensemble held together by some brilliant writing. What more could you want?”
Paddington the Musical doesn’t shy away from deeper themes, either. Jessica Swale’s script weaves in a timely message about kindness and the importance of welcoming strangers. The character of Mr Gruber, played with warmth by Teddy Kempner, is a former child refugee, adding an extra layer of poignancy. The show’s heart is evident in every scene, whether it’s Paddington’s chaotic arrival in Windsor Gardens or the climactic confrontation with villainous taxidermist Millicent Clyde, played with gusto by Victoria Hamilton-Barritt.
The ensemble cast is rounded out by Amy Ellen Richardson as Mrs Brown, who brings emotional depth to a character navigating family life, and Brenda Edwards, who adds star power and vocal prowess. The production also features delightful comic moments, such as Hank the cockney pigeon puppet (operated by Ben Redfern), who plays a pivotal role in saving Paddington and provides plenty of laughs for audience members of all ages.
Immersion is a key element of the experience, particularly for those seated in the stalls. Critics noted the interactive nature of the show, with various effects—like items being dropped or squirted into the audience—keeping youngsters engaged and ensuring that “youngsters will not be bored,” according to Lukowski.
Despite the overwhelming positivity, a few critics offered gentle notes of caution. The Stage’s Sam Marlowe wrote, “In truth, the material needs more work. But whatever the faults of the show, it’s sweeter than a marmalade sandwich, and if the cuddly creation at its heart doesn’t make it a hit, I’ll eat his hat.” Similarly, The Telegraph’s Dominic Cavendish commented, “Is this a new classic on a par with Mary Poppins or Matilda? No, it’s a touch threadbare, and a little over-stuffed with songs. But fittingly, it’s still a very welcome addition to the British musical family.” The Guardian’s Arifa Akbar noted that the final scenes felt slightly extraneous and the show ran a touch long, but concluded that “you would have to be a cynic yourself to find fault in this gorgeous world of bearish adventure.”
For all its spectacle, Paddington the Musical is, at its core, a fairly analogue experience. It relies on strong performances, clever staging, and memorable songs rather than viral gimmicks or technological wizardry. The show’s appeal is broad, with enough slapstick and visual humor to delight children, while parents and grandparents can appreciate the wit, nostalgia, and emotional resonance.
Paddington the Musical is currently scheduled to run at the Savoy Theatre until October 2026, but given the critical and popular response, it wouldn’t be surprising to see it extend further or even transfer abroad. With its blend of British charm, universal themes, and sheer theatrical joy, the production seems poised to join the ranks of West End family classics.
In a theatre landscape sometimes crowded with hastily assembled adaptations, Paddington the Musical stands out as a lovingly crafted, heartwarming spectacle. It’s a show that invites audiences to open their hearts—and perhaps check for marmalade sandwiches inside.
