Paddington The Musical
Signed performance: 15th March 2026 at 2pm
Audio described performance: 26th April 2026 at 2pm
Everyone’s favourite Peruvian bear in a new musical. How far are his adopted Brown family willing to go to save him from peril?
A new musical for all the family. Most suitable for ages 4 to 104.
(seen at the preview performance on 13th November 2025)
The fact that there are no protestors outside the Savoy Theatre proves that some illegal migrants are still welcome. The Brown family agree, which is just as well. Otherwise, they wouldn’t have taken in an undocumented small Peruvian bear – and there wouldn’t be this show.
This follows closely the plot of the first feature film. Opening in Mr Gruber’s (Teddy Kempner directed and costumed in vaguely anti-Semitic stereotype ‘Tevye’ mode) shop for an odd and unnecessary not-scene-setting number, things pick up a little at Paddington station where the star (Arti Shah in furry outfit / James Hameed on and off-stage voice) appears.
Maybe due to press attention already, but the monkey wasn’t as awed as it expected. The animatronic blinking is quite cute, but the flappy-jaw speaking and thick fur coat are nothing a decent “Goldilocks and the Three Bears” hasn’t done every panto season for decades.
It is noticeable that only when the famous duffle-coat appears does the audience sigh with satisfaction, suggesting the effect isn’t quite as intended, but worth the wait for some.
Back to the plot. Very sadly, for all its “inclusive” preaching, Jessica Swale’s book happily puts the boot into fathers – a lazy, selfish and self-satisfied trope not in the spirit of Michael Bond’s stories and plain sickening given the rest of Swale’s “right-on” self-righteous writing.
If you wouldn’t do that to a woman or global majority person, why a man? And if you are reading this, Jessica Swale, do feel free to email a reply.
She may also want to visit the deathtrap-feeling (to the monkey) Troubadour Theatre, Canary Wharf, to see exactly why those who focus on health and safety exist. Given that Ash J Woodward’s video design includes Grenfell Tower, she does not even have to go that far.
Adrian De Gregorian does his best with Mr Brown, eventually being allowed to produce a touching relationship with son Jonathan (Jasper Rowse at this performance).
Also a victim of drive-by anti-male bile-spewing, Rowse is talented enough at his young age to overcome the stereotyping with neat timing, to become endearing to all.
For the ladies, Swale ensures the roles are better written. Mrs Brown (Amy Ellen Richardson) is naturally a victim of marriage (Swale-think in action), but retains ‘interesting’ and eventually connects with daughter Judy (Delilah Bennett-Cardy) in a literally suspended fashion.
Bennett-Cardy is also not allowed to be the optimistic young girl of the books, but must have love and relationship issues. Boyfriend Tony (Timi Akinyosade) is an awkward graft-on, along with mother Tanya (Brenda Edwards), but at least the pair justify it with strong voices and performances.
Equally strong in both areas, villain from the books Mr Curry (Tom Edden) and new from the film, stuffing-machine-wielding Millicent Clyde (Victoria Hamilton-Barritt) get to do much of the heavy plot lifting, such as it is.
Incarnated as a Taxi Driver (not taxidermist, his best line), Edden is much-needed comedy genius, even if he isn’t given a Taxi Driver roundel to wear (bad mistake, wardrobe).
Hamilton-Barritt is similarly a class turn, sadly not given sufficiently or sufficient amusing lines to match her abilities to deliver and lighten a clumsily dark edge.
Likewise, Bonnie Langford as Mrs Bird – lodger, not much-loved family cook and factotum - is given a song for the sake of reminding us of her talent. A really bad line about “Cats” isn’t needed, but a co-star in security guard Grant (Tarrin Callender) would be an excellent double-act if their song wasn’t superfluous in an already over-extended running time.
Sadly, same goes for Amy Booth-Steel’s fun-but-overwritten Mrs Hachoo moment as head of the Geographers Society. We like you, but yet another song to hold up the plot?
Oh, and Hank the Pigeon (Ben Redfern) is supposed to be amusing – so what sick idiot decides shooting his mother in front of him was such a great idea? This is not “Bambi” and nobody on this show is Mr Walt Disney, or even close. Besides which, it lessens the impact of Paddington’s own later crossbow encounter.
The latter is staged with a hint of “Kiss me Hardy” by floundering director Luke Sheppard, the resolution brings to mind Grandad’s story in “Only Fools And Horses” about the ricochet bullet that went up his own grandfather’s nose. The monkey suppressed a snigger.
Ending back in the shop, then with a party, the indecisiveness of the creative team and full extent of the issues with the show are laid bare. Or bear.
This actually doesn’t need to be a musical at all. Tom Fletcher does produce a few really strong numbers – “Don’t Touch That” delivers laughs and unfulfilled hope of a great comedy show early on. “Marmalade” is over-boiled but is a production number for those who haven’t seen one before.
“The Rhythm Of London” channels in visuals and spirit the 2012 Olympic opening ceremony (only London has paramedics, apparently – actually if BBC documentary “Ambulance” is anything to go by...) but nice to see all sorts celebrated anyway.
Lyrics don’t live up to tunes, though, and you will spot the rhymes as they lumber into view a mile off. Rather like Ash J Woodward’s video designs, they sprawl, are a bit unfocussed and only occasionally really add to the overall effect they try to achieve.
An economical set too. Tom Pye goes cutesy up the sides, realistic in the middle, with subtle changes to the junkyard surround working rather well to take up from shop to home to museum.
Note too for Neil Austin, who captures the sun of London despite being told it is grey. Gareth Owen does not do as well with the sound design, losing lyrics in ensemble scenes for the front stalls, but it could be a preview issue to be ironed out later.
Whether due to not hearing the words, or just evening tiredness, the bright 9-year-old (not with the monkey) two seats away was squirming by halfway through. The regular theatregoers were checking watches, but the rare theatregoers were enthralled and decorum was excellent.
No doubt by the end of previews the show may be a little tighter, but probably won’t suffer the cuts it really needs. There is something here that will keep the show running for at least 3 years, the monkey thinks.
It will certainly appeal to those who adore the film, those needing a fully family show a little sugarier than “Disney’s The Lion King” and those with a certain nostalgia visiting London.
For the monkey, this is a fairly competent if uneven attempt at the material. The nod to Mr Bond on the taxi numberplate felt more meaningful than the modern emotions added to meet the contemporary expectations of a certain creative faction.
Sometimes, there is a place for the old-fashioned things. Paddington knows it, and we glimpse it in this show. It is only glimpses, though, a pity. Think what true Paddington spirit – that of free and respectful thoughts from an age some wish bygone and a silent majority still practice, might have achieved.
Discount supermarket own-brand, not Sir Huntley Martin’s, Robinson nor Tiptree, ah well.
Stalls BB8 (8th December 2025). This is the front row, so has the usual cautions. The leg room seemed ok to me (5 foot 8) and the view to the stage isn't too neck-breaking, there's a gap for the orchestra. You'll have the conductor a couple of seats to the left and in front and she has a light and, of course, moves around but that shouldn't be distracting, indeed, I found it interesting. The rake seemed pretty flat here so if you want to be close then I would say this is the row to choose, especially if they stay at a cheaper price. When you leave, leave to the left of the house, far fewer steps.
I think I liked it more than theatremonkey, though I agree with it that the easy targets took the hits. There was some sort of cab driver roundel around Mr Curry's neck on Saturday, though maybe not the real one, perhaps they are big on copyright.
I think that this will probably become the default show for tourists to come and see, and should be watched through that view rather than expecting a new step forward in musical theatre.
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.
| Run Time: | 2 hours 45 minutes including 1 interval |
| Monday: | 7pm |
| Tuesday: | X |
| Wednesday: | 7pm |
| Thursday: | 2pm, 7pm |
| Friday: | 7pm |
| Saturday: | 2pm, 7pm |
| Sunday: | 2pm |
Venue Box Office & Current Prices
0333 009 6690Venue box office details and show price charts are available on the Savoy Theatre page.
Ticketpipe
PaddingtonLoveTheatre.com
Lovetheatre.com. Charge around 10% booking fee per ticket. They are owned by Ambassador Theatre Group (ATG) and often have good deals on shows at ATG venues.
Ticketmaster
Ticketmaster.co.uk. Charge around 8% to 10% booking fee per ticket. Handling fees may also be added. This is the largest ticketing agency worldwide.
TodayTix
TodayTix. Charge between 10% and 20% booking fee per ticket. Discounts are often available as this is a large global ticketing company with this specific aim.
London Theatre Direct
Londontheatredirect.com. Charge between 10% and 25% booking fee per ticket. Discounts are frequently available. Part of Trafalgar Theatre Group, known for customer service and unique offers.
See Tickets
See Tickets. Charge around 10% booking fee per ticket, plus £2.75 per booking (not per ticket) postal charge. They are owned by ticketing group Eventim.
Availability: Box office discretion
Price: Lottery: £35 / Mastercard £65
Notes: LOTTERY: On the first Wednesday of each month. Sign up at https://paddingtonthemusical.com/lottery/. Winners will have 24 hours to buy up to 4 tickets (location at box office discretion) for any performance in the following month. MASTERCARD: Mastercard holders can buy front row tickets up to one month ahead at https://www.priceless.com/entertainment/product/223830/paddington-the-musical. Price £65, they are released 1 month before the performance date, first come first served, Tickets are available until all have been sold for that performance, or it is less than 7 days before the show, whichever is sooner. 15 seats are available, and maximum purchase is 6 tickets in a single transaction. A voucher for an ice-cream is included with each ticket. Choice of brand and selection of flavours is at venue discretion. No refund is given for items not available or not taken.
Address: Savoy Court, London, WC2R 0ET
Box Office: 0333 009 6690
More details: Seats to buy or avoid at this venue plus travel information and other details can be found on the Savoy Theatre page
