Review of 'Paddington': A Hilarious and Heartwarming Musical Comedy

Is this bear in danger of extinction? asks Tarinn Callender, assisting Victoria Hamilton-Barritts delightfully wicked Millicent Price. With gleeful malice, she responds, It is now. While Prices remark perfectly captures the peril of the titular bear, it couldnt be more mistaken about the overall production. Vibrant, humorous, and fully realized, the eagerly awaited Paddington musical has finally reached the West End, radiating joy and a rare theatrical charm that captivates from the start.

Adapting beloved stories for the stage is always a gamble. For every triumphant The Lion King or Wicked, there are adaptations like Interview With a Vampire, Groundhog Day, or Londons current, underwhelming The Hunger Games. But optimism was high for producers Sonia Friedman and Eliza Lumley, bolstered by the surprising success of the film adaptations of Michael Bonds 1958 classic, A Bear Called Paddington, which collectively amassed nearly $800 million at the box office.

After more than five years of development and multiple workshops, the musical could have felt contrived. Yet from the opening scene in a cozy curiosity shop, accompanied by Matt Brinds enchanting, Elfman-esque score, Luke Sheppards production demonstrates precision and care. The storybook aesthetic and the casts commitment ensure the show never feels formulaic.

The biggest question before opening was how Paddington himself would be portrayed. The solution is both clever and effective: Arti Shah physically embodies Paddington in a furry costume, while James Hameed provides the voice and singing, appearing briefly on stage but primarily working from backstage. Much like the human-operated puppet in War Horse, the bear instantly sparks the audiences imagination. Hameeds vocal performance, combined with the nuanced physicality, gives the seemingly expressionless bear an unexpectedly emotive presence.

With the character fully realized, attention turns to the musicals storytelling and songs. The opening company number, Ive Arrived, sets a cheerful tone, enhanced by Ellen Kanes energetic choreography and Tom Pyes atmospheric London train station set. Music and lyrics by Tom Fletcher, founder of the band McFly and prolific childrens author, reflect a genuine respect for the world he depicts. While some numbers occasionally overemphasize moral lessons, the cast delivers sentiment with warmth and charm, avoiding excessive sweetness.

Fletchers compositions shine in conveying mood and character, though not always advancing the plot. His comedic numbers, however, consistently land, offering much-needed levity in a theatrical landscape often dominated by serious musicals. A standout moment is the Act Two opener, a playful waltz featuring Mr. Curry, played by Tom Edden, who succumbs to his love for Paddingtons cherished marmalade. The sequence evolves into an infectious, audience-participation number, blending music, costume design by Gabriella Slade, and Ash J. Woodwards animated visuals into a spectacle.

Swales book ensures every character enjoys their moment, while Adrian Der Gregorians Mr. Brown delivers a touching paternal performance. Amy Ellen Richardson as Mrs. Brown combines powerful singing with genuine tenderness, adding to the productions rare authenticity. Director Sheppard and Swale particularly succeed in original sequences beyond the films story, balancing humor, warmth, and inventiveness.

Victoria Hamilton-Barritt excels as the delightfully grotesque Millicent Price, blending deadpan humor with theatrical villainy, while Amy Booth-Steel steals the spotlight in a series of supporting roles, each brimming with comedic energy. From station announcer to the eccentric president of the Geographical Guild, she dominates every scene she inhabits.

Michael Bonds original warning to Please look after this bear feels perfectly apt for West End audiences, who are certain to embrace Paddington for years to come.

Author: Sophia Brooks