PADDINGTON Review: A MARMALADE LOVE LETTER TO LONDON!
PADDINGTON Review: A MARMALADE LOVE LETTER TO LONDON!
THIS NEW MUSICAL ARRIVES LIKE A WARM CUP OF TEA IN A COLD WORLD-BRIMMING WITH KINDNESS, MELODY, AND LONDON MAGIC.
THIS NEW MUSICAL ARRIVES LIKE A WARM CUP OF TEA IN A COLD WORLD-BRIMMING WITH KINDNESS, MELODY, AND LONDON MAGIC.
★★★★★
★★★★★
꧁CURTAIN CALL CRITIQUES TOP MUSICAL OF 2025꧂
In a cultural moment defined by rancor, suspicion, and endless division, Paddington: The Musical feels nothing short of miraculous. It’s a heart-expanding triumph—one that dares to suggest, without irony or naïveté, that if we simply “go and spread a little kindness,” the world might yet soften around the edges. Adapted from a character who has long stood as an unofficial emblem of British decency and welcome, this new musical—now playing to sold-out houses at the Savoy Theatre—may be the most magical theatrical production I have ever seen. Possibly ever.
In a cultural moment defined by rancor, suspicion, and endless division, Paddington: The Musical feels nothing short of miraculous. It’s a heart-expanding triumph—one that dares to suggest, without irony or naïveté, that if we simply “go and spread a little kindness,” the world might yet soften around the edges. Adapted from a character who has long stood as an unofficial emblem of British decency and welcome, this new musical—now playing to sold-out houses at the Savoy Theatre—may be the most magical theatrical production I have ever seen. Possibly ever.
That sense of magic begins with the score. Tom Fletcher, founding member of the band McFly, has written a collection of songs that are so irresistibly tuneful and emotionally direct, they feel instantly classic. This is a score made of bangers—one after another—each one burrowing into your brain and refusing to leave for days, if not weeks. Fletcher understands the essential alchemy of musical theatre: songs must delight, yes, but they must also mean something.
That sense of magic begins with the score. Tom Fletcher, founding member of the band McFly, has written a collection of songs that are so irresistibly tuneful and emotionally direct, they feel instantly classic. This is a score made of bangers—one after another—each one burrowing into your brain and refusing to leave for days, if not weeks. Fletcher understands the essential alchemy of musical theatre: songs must delight, yes, but they must also mean something.
Nowhere is that clearer than in “Rhythm of London,” a showstopper that deserves to be counted among the great love letters ever written to this city. It pulses with energy and generosity, celebrating a metropolis that opens its arms wide—“whether you got fur or you got skin, feel the beat, and you can join right in.” As someone who moved to the UK just over a year ago, that lyric landed with unexpected force. That’s exactly what I did: I joined right in. Few songs capture the spirit of London—its chaos, warmth, and radical inclusivity—so perfectly.
Nowhere is that clearer than in “Rhythm of London,” a showstopper that deserves to be counted among the great love letters ever written to this city. It pulses with energy and generosity, celebrating a metropolis that opens its arms wide—“whether you got fur or you got skin, feel the beat, and you can join right in.” As someone who moved to the UK just over a year ago, that lyric landed with unexpected force. That’s exactly what I did: I joined right in. Few songs capture the spirit of London—its chaos, warmth, and radical inclusivity—so perfectly.
And then there’s “Marmalade,” the contagiously joyful number that opens Act Two. I confess: I have never had marmalade. But after witnessing this bright, sweet, gloriously addictive musical explosion, I may be adding it to my shopping list—along with the essential supplies for marmalade sandwiches, should an emergency arise. Paddington would, after all, insist. I could continue raving about this score indefinitely. It is beautiful, impactful, and unabashedly sincere. Shows like this remind us what musical theatre is—and what it should always strive to be.
And then there’s “Marmalade,” the contagiously joyful number that opens Act Two. I confess: I have never had marmalade. But after witnessing this bright, sweet, gloriously addictive musical explosion, I may be adding it to my shopping list—along with the essential supplies for marmalade sandwiches, should an emergency arise. Paddington would, after all, insist. I could continue raving about this score indefinitely. It is beautiful, impactful, and unabashedly sincere. Shows like this remind us what musical theatre is—and what it should always strive to be.
Of course, we must address the bear in the room. Peruvian bear, to be precise. For months, speculation swirled around the question of how Paddington himself would be brought to life on stage. The answer, it turns out, is nothing short of astonishing. Tahara Zafar’s puppetry design is a genuine work of genius. By combining a performer of short stature inside the bear costume with a separate offstage actor providing Paddington’s voice—while also remotely controlling his facial expressions—the production achieves something extraordinary. I have seen remarkable puppetry in the theatre before. I have never seen anything of this caliber. Paddington is not a gimmick or a novelty; he is utterly alive.
Of course, we must address the bear in the room. Peruvian bear, to be precise. For months, speculation swirled around the question of how Paddington himself would be brought to life on stage. The answer, it turns out, is nothing short of astonishing. Tahara Zafar’s puppetry design is a genuine work of genius. By combining a performer of short stature inside the bear costume with a separate offstage actor providing Paddington’s voice—while also remotely controlling his facial expressions—the production achieves something extraordinary. I have seen remarkable puppetry in the theatre before. I have never seen anything of this caliber. Paddington is not a gimmick or a novelty; he is utterly alive.
The rest of the creative team meets that high bar at every turn. Gabriella Slade’s costume design is rich, characterful, and brimming with warmth, while Tom Pye’s playful, ever-shifting set captures Paddington’s world with a cinematic sweep. It feels expansive without ever losing intimacy—a difficult balance, beautifully struck. Under Luke Sheppherd’s assured direction, the production unfolds with precision and joy, honoring the whimsy of the source material while grounding it in emotional truth.
The rest of the creative team meets that high bar at every turn. Gabriella Slade’s costume design is rich, characterful, and brimming with warmth, while Tom Pye’s playful, ever-shifting set captures Paddington’s world with a cinematic sweep. It feels expansive without ever losing intimacy—a difficult balance, beautifully struck. Under Luke Sheppherd’s assured direction, the production unfolds with precision and joy, honoring the whimsy of the source material while grounding it in emotional truth.
And then there is the cast, a glorious ensemble blending seasoned veterans and rising stars. Bonnie Langford is a delight as Mrs. Bird, Teddy Kemper brings depth and charm to Mr. Gruber, Amy Ellen Richardson radiates warmth as Mrs. Brown, and Tom Edden is perfectly prickly as Mr. Curry. Timi Akinyosade shines as Tony, marking himself as a talent to watch. Yet the greatest miracle remains Paddington himself. James Hameed’s offstage vocals are tender, earnest, and unmistakably Paddington, while Abbie Purvis, as the alternate onstage performer, delivers a physical performance of astonishing nuance and grace. Together, they create a character so real you forget the mechanics entirely.
And then there is the cast, a glorious ensemble blending seasoned veterans and rising stars. Bonnie Langford is a delight as Mrs. Bird, Teddy Kemper brings depth and charm to Mr. Gruber, Amy Ellen Richardson radiates warmth as Mrs. Brown, and Tom Edden is perfectly prickly as Mr. Curry. Timi Akinyosade shines as Tony, marking himself as a talent to watch. Yet the greatest miracle remains Paddington himself. James Hameed’s offstage vocals are tender, earnest, and unmistakably Paddington, while Abbie Purvis, as the alternate onstage performer, delivers a physical performance of astonishing nuance and grace. Together, they create a character so real you forget the mechanics entirely.
In the end, Paddington: The Musical is more than a show. It is a love letter to London—the greatest city in the world—and to the idea that kindness is not weakness, but strength. In these rough and restless times, this is a production people need to see. You leave the theatre lighter than you entered, newly determined to extend grace not only to those you love, but to those you’ve never met. Paddington may be a bear from Peru, but this musical proves he belongs to all of us. If you are able, do yourself a favor: treat yourself to an evening of pure, heartfelt joy. This is theatre that heals—one marmalade sandwich at a time.
In the end, Paddington: The Musical is more than a show. It is a love letter to London—the greatest city in the world—and to the idea that kindness is not weakness, but strength. In these rough and restless times, this is a production people need to see. You leave the theatre lighter than you entered, newly determined to extend grace not only to those you love, but to those you’ve never met. Paddington may be a bear from Peru, but this musical proves he belongs to all of us. If you are able, do yourself a favor: treat yourself to an evening of pure, heartfelt joy. This is theatre that heals—one marmalade sandwich at a time.
Paddington: The Musical - Savoy Theatre
Attended on 15 December 2025