Paddington appears only a few minutes into the show, yet that moment stays with you long after you leave the Savoy. The reveal is small, almost shy. A rush of London commuters part, and there he is, blinking up at the audience. The reaction is instant. A ripple of gasps. A few quiet sniffles. Children lean forward. Adults forget themselves.

Arti Shah and James Hameed create a Paddington who feels fully present. Shah’s movement carries a soft eagerness, while Hameed gives him a bright, clear voice. The facial animation is simple but expressive. A blink at the right time lands with more emotion than many full speeches in other shows. You stop thinking about the mechanics and accept him as a living character.

The story follows the familiar beats of the first film. Paddington leaves Peru after tragedy, finds London overwhelming, and is taken in by the Browns. What works here is how the musical deepens the family’s tension. Adrian Der Gregorian plays Mr Brown with tight shoulders and a constant sense of worry. Amy Ellen Richardson gives Mrs Brown a gentle spark, someone longing for more connection. Judy and Jonathan carry their own struggles, one weighed down by embarrassment, the other hiding in facts.

Paddington’s arrival brings chaos to their home. A full sequence of exploding kitchen appliances, ripped wallpaper and flying objects turns into a highlight of the first act. It’s messy, funny and staged with remarkable clarity. In the middle of all that noise, you see the Browns slowly shift. The house becomes warmer as the act goes on. That small change hits harder than expected.

Luke Sheppard directs with confidence. He understands how to balance family theatre with emotional depth. Tom Pye’s set spreads out into the auditorium, covering the Savoy in London corners and small objects that feel lived in. One moment you’re in Windsor Gardens. The next you’re inside a glowing Peruvian jungle. The transition is smooth and feels almost like a breath of air falling across the room.

Tom Fletcher’s music brings the show together. The Explorer and the Bear is one of the quietest moments of the night yet also one of the strongest. The marmalade sequence in act two lifts the entire audience into a full burst of orange light. People sway. Children dance in their seats. You can’t help but smile. It is easy to see why some already call this the hit of the year.

The supporting cast lift the production even higher. Victoria Hamilton Barritt plays Millicent Clyde with sharp control, turning each entrance into a small event. Bonnie Langford brings a spark to Mrs Bird and reminds everyone of her unmatched stage presence. Amy Booth Steel, as Lady Sloane and other characters, delivers some of the loudest laughs of the night with perfect timing. Brenda Edwards sets off The Rhythm of London with power, turning the number into a street party that fills the theatre.

What sits underneath all the spectacle is a story about welcome. Paddington is a newcomer searching for safety. The Browns are a family learning how to open their door again. When the stage turns into Peru, the room shifts. When the Browns finally choose Paddington fully, you feel the release across the audience. These moments carry real feeling.

By the final scene it becomes clear why many call this the best musical to see this festival season. It has joy, colour, gentle humour and a message that speaks to every age. You leave lighter. You leave smiling. And you leave with the sense that Paddington has been looked after with real care.

Paddington the Musical is now running at the Savoy Theatre, with evening performances on Monday, Wednesday, Thursday, Friday and Saturday. Matinees take place on Thursday, Saturday and Sunday.

The production is currently booking until 25 October 2026.

The show is produced by Sonia Friedman, with Anna Marsh for STUDIOCANAL and Eliza Lumley for Universal Music UK.

Photo by Johan Persson.

Tickets can be purchased through the Savoy Theatre box office or the show’s official website.