Paddington

⭐️⭐️⭐️⭐️⭐️

When a small, lost bear from Peru arrives in London in search of a new home, a chance encounter with the Brown family leads him to the wonderful world of Windsor Gardens. But London isn't all afternoon teas and friendly faces - and even the happiest families have their cracks beneath the surface. So when a mysterious and vengeful villain sets her sights on Paddington, the Browns embark on a thrilling rescue mission, realising they need this special bear as much as he needs them.

Luke Sheppard’s direction is clear, concise, and impressively confident. Every choice feels intentional, with strong visual storytelling and absolutely no dead space on stage. Even in quieter moments, there is always something happening that serves either character or narrative. His ability to work around — and actively embrace — the constraints and opportunities of the set is particularly masterful, allowing scenes to flow seamlessly without ever feeling clunky or interrupted. The pacing is consistently strong, keeping the story buoyant and forward-moving while still allowing moments of warmth and reflection. It’s direction that understands both the mechanics of musical theatre and the emotional core of Paddington’s story.

Ellen Kane’s choreography complements this approach beautifully. The movement is bright, playful, and full of character, never feeling like choreography for choreography’s sake. Instead, it enhances the storytelling, adding layers of humour, energy, and clarity. There’s a real sense of joy in the movement, with sequences that feel infectious and inviting, particularly in ensemble moments. While not every section is relentlessly showy, the choreography always feels purposeful, accessible, and tonally in sync with the world of Paddington.

Tom Pye’s set design is nothing short of a visual delight. From first glance, it’s clear this is a design packed with ingenuity, but what makes it truly special is how much it continues to surprise throughout the show. Hidden tricks, clever transformations, and gradual reveals keep the stage picture evolving, rewarding audience attention over time. It’s a richly layered and cohesive design that uses the space exceptionally well, creating multiple locations without ever feeling overcrowded. The set doesn’t just frame the action — it actively participates in it, becoming a character in its own right.

Ash J Woodward’s video design is a standout example of how digital elements should be used in modern theatre. This is video that knows when to make an impact and when to quietly support the action. There are moments where it confidently steps forward and draws the eye, and others where it blends so seamlessly into the stage picture that you barely register it as video at all — which is exactly the point. It enhances the storytelling without overpowering it, working in perfect harmony with the physical set to create a cohesive and immersive visual world.

Neil Austin’s lighting design is strong, intelligent, and often genuinely impressive. There are several moments where lighting choices elevate a scene entirely, delivering effects that land with real impact. The design is full of clever ideas and subtle transitions, shaping mood and guiding focus with precision. While there were one or two instances where I found myself wanting just a little more emphasis or contrast, the overall design is thoughtful, polished, and consistently effective, supporting both spectacle and intimacy.

Gareth Owen’s sound design is, quite frankly, masterful. The sheer scale of what’s being achieved is staggering, with an enormous number of cues executed seamlessly throughout the performance. The integration of tracking technology is particularly impressive, allowing the sound to feel dynamic, responsive, and deeply immersive. Vocals, effects, and orchestration are balanced beautifully, creating a sonic environment that fully envelops the audience. It’s one of those designs that may feel effortless in the moment — until you stop to consider just how much precision and skill is required to make it feel that way.

Gabriella Slade’s costume design is a triumph. The designs clearly honour the legacy of Paddington across the books and films, while introducing subtle twists that feel fresh, theatrical, and perfectly suited to the stage. Each costume supports character instantly, with strong silhouettes, thoughtful detail, and a playful sense of colour. There’s a clear understanding of how costume can enhance storytelling, and the result is a wardrobe that feels both nostalgic and excitingly new.

The wig, hair, and make-up design by Campbell Young Associates is truly stunning. The level of detail across the company is exceptional, with designs that enhance character without ever slipping into excess. Each look feels carefully crafted to complement costume and performance, helping characters read clearly from any distance while maintaining a polished, cohesive aesthetic. In a show with such a rich and busy visual world, this work is crucial — and it succeeds beautifully, adding depth, clarity, and texture to the overall design.

Jessica Swale’s book is largely strong and provides a solid narrative framework for the production. The story is clear, engaging, and emotionally grounded, capturing the heart of Paddington’s journey. However, there are a couple of key moments — particularly between Judy and her mum — that don’t quite land with the weight they deserve. Due to the pace of the book, these moments don’t always get the time they need to breathe, slightly dampening their emotional impact. With just a little more space, these scenes could resonate far more powerfully.

The music and lyrics by Tom Fletcher are mostly effective, with several enjoyable and memorable numbers. That said, some songs feel unnecessary and could potentially have been cut without harming the overall narrative. Additionally, a few numbers don’t feel entirely cohesive with the rest of the score, occasionally disrupting the musical flow. While the score has plenty of charm, a tighter approach could elevate it significantly.

Tom Edden delivers a standout performance. While he may be underused, he makes every moment count, and this is easily some of the best work I’ve seen him do. Amy Booth-Steel echo's this whilst bringing huge laughs and boundless energy as she multi-roles her way through the show, hitting every character perfectly with impeccable timing.

Bonnie Langford is an absolute joy to watch, bringing a delightful, playful presence to the stage. She looks like she’s having the time of her life, and that joy is completely infectious.

Victoria Hamilton-Barritt is a pitch-perfect villain, balancing scary and funny with absolute precision. It’s a performance that hits every note exactly right.

James Hameed and Abbie Purvis (at this performance) deliver a phenomenal double act. Their synchronisation is superb, and my favourite moments remain their interactions when they’re on stage together. James reacts brilliantly to everything happening around him, giving Paddington the perfect voice, while Abbie goes all out physically, delivering a flawless onstage performance. She stays true to the core themes of Paddington while injecting her own flavour — something I thoroughly enjoyed.

Paddington The Musical is a joyful, visually inventive, and deeply charming production that captures the heart and warmth of its beloved title character. With exceptional technical work, confident direction, and performances full of energy and heart, it offers a genuinely uplifting theatre experience. While there is room for refinement in the book and score, the production already delivers a rich, engaging, and magical night at the theatre — one that audiences of all ages are sure to adore.