‘Sweeter than a marmalade sandwich’ – Paddington’s West End musical declared a hit by critics

A new stage adaptation of Paddington has received rave reviews from critics following its West End premiere.

Paddington the Musical, which features new songs by McFly’s Tom Fletcher, follows the beloved bear as he arrives in London and is taken in by the Brown family.

The Guardian’s five-star review said the show is “imaginatively staged, immaculately performed and utterly winning”, while the Telegraph described it as a “funny, feel-good, family-friendly musical that looks set to run and run”.

Awarding four stars, the Times added: “Break open the marmalade: the West End has a new hit musical that will surely give Matilda a run for its money as a children’s favourite.”

The stage musical, which is written by Jessica Swale and directed by Luke Sheppard, is adapted from the 2014 film and Michael Bond’s original books.

In a show that hinges on on a character who was computer-animated in the films, many critics praised the way Paddington is represented on stage.

“Paddington is a small woman (Arti Shah) in a bear costume (by Gabriella Slade), with a regular-sized man (James Hameed) doing the voice and remote controlling the facial expressions from backstage,” explained Time Out’s Andrzej Lukowski.

“Which doesn’t sound groundbreaking but it’s enough to make us believe that Paddington is really in the room with us. Which is surely the point of the endeavour.”

The musical “brings the stowaway bear gorgeously to life”, agreed Sarah Hemming of the Financial Times.

“The protagonist himself, designed by Tahra Zafar, is a triumph. Furry but not too fluffy, endearing but not too cute, he has the slightly lived-in look of every favourite soft toy and is a beautifully pitched amalgam of real bear and ted.”

The musical, which has been in development for more than five years, is currently scheduled to play at the Savoy Theatre until October 2026.

West End veteran Bonnie Langford and performer and Loose Women panelist Brenda Edwards are among the stars in the cast.

“At a time when the West End’s filling up with underfunded, ill-considered riffs on big-name franchises, we’re finally getting a show that’s made with serious heart, dedication, and enough spectacular special effects to thrill its audiences,” wrote the Independent’s Alice Saville.

“It’s almost palpably eager to please – and if you don’t welcome it right into your heart, you might want to check there’s not some marmalade gumming it shut.”

However, although critics heaped praise on the show as a whole, several added a note of scepticism to their reviews.

“All the vulnerability, mischief and innocence that make him so entrancing are here… and even when everything around him seems teetering on the brink of disintegration, he has only to toddle into view to restore your faith,” according to Sam Marlowe of the Stage.

“In truth, the material needs more work,” she cautioned. “But whatever the faults of the show, it’s sweeter than a marmalade sandwich, and if the cuddly creation at its heart doesn’t make it a hit, I’ll eat his hat.”

The Telegraph’s Dominic Cavendish awarded four stars and also noted a couple of drawbacks, writing: “Is this a new classic on a par with Mary Poppins or Matilda? No, it’s a touch threadbare, and a little over-stuffed with songs,” he said.

“But fittingly, it’s still a very welcome addition to the British musical family. ‘Please look after this bear’? Of course we will.”

Meanwhile, the Guardian’s Arifa Akbar added: “The final few scenes feel extraneous and it is slightly over-long, but you would have to be a cynic yourself to find fault in this gorgeous world of bearish adventure.”

The show provides a somewhat immersive experience for audience members sitting in the stalls in particular.

“A lot of stuff gets dropped on or squirted at the audience,” noted Lukowski. “Youngsters will not be bored.”

In her five-star review, Olivia Garrett of Radio Times singled out a song dedicated to Paddington’s favourite snack.

“[A] perfect moment is the second act’s ode to marmalade – you knew they had to have that in there – where the entire stage is transformed into a sea of dreamy orange, complete with dance breaks, feathered hats and interaction from the crowd,” she said.

City AM’s Adam Bloodworth concluded that the show at its core “is actually a fairly analogue musical experience”, which sustains its quality “without relying on particularly viral moments, gimmicks or tricks”.

“Instead Luke Sheppard’s overall show is a wholesome homage. Just nice songs and a decent ensemble held together by some brilliant writing. What more could you want?”