Last month, I had the absolute joy of being in attendance during the preview period for the new hit musical, Paddington the Musical. From the first rise of the curtain, I knew this was something special, and such has been affirmed with the lifting of the review embargo this week. Paddington is charming audiences and critics alike, so let’s have a look at what has been said!

The Guardian – Up first, writing for The Guardian is Arifa Akbar, awarding the musical 5 stars, dubbing the production “the new Mary Poppins: a well-known story imaginatively staged, immaculately performed and utterly winning”.

The Independent – Alice Saville, for The Independent, notes the hyper-realism of Paddington, but suggests that it is the “warmth, eccentricity and ambition that goes beyond its huggable protagonist”, elevating this production to boundless heights.

London Theatre – Similarly focussing on the warmth and eccentricity of the show is Marianka Swain for London Theatre, rendering the design a “real love letter to London”, and the production itself a “thoughtful exploration of what family, home and belonging can mean”.

The Standard – Continuing our streak of 5 star reviews is Tim Bano, writing for The Standard; Bano places a greater emphasis on the marvellousness of the bear himself, suggesting that he’s “one of the most wonderful theatrical creations of recent years”; he is also the first of the larger publications to nod to the political nature of the musical, suggesting that “Swale nods towards Paddington’s immigration status”.

WhatsOnStage – “One little bear. So much love.” This gorgeous sentiment sums up Sarah Crompton’s review, as she further explores the uplifting themes, noting that “this is a show about welcoming foreigners, about asserting the values of kindness and tolerance that used to be Britain’s hallmarks”.

TimeOut – Our first 4 star review comes from Andrzej Lukowski, which boasts the decency of Fletcher’s music, as well as the permeating postcolonial metaphor (“it’s unabashedly celebratory of London, immigration and multiculturalism as a positive legacy of colonialism”). The knocked-off star appears to be twofold: firstly, the show’s breadth, ceasing to settle on one focus, instead giving each character a couple of songs. Secondly – and in a similar vein – is the musical’s “overstuffed” nature; yet, Lukowski credits the musical for working with already imperfect source material.

The Telegraph – While recognising Paddington as a musical that “looks set to run and run”, Dominic Cavendish refuses to uphold The Guardian’s sentiment that this production is the new Mary Poppins, instead hesitating, suggesting it falls “slightly short” of such status.

The Stage – Heralding the success of the fuzzy bear himself, Sam Marlowe renders Paddington “entrancing”, while at once highlighting the “holes and needless diversions” of Swale’s script, suggesting that the actual storytelling undermines immersion and emotional consistency. Yet, carried by the emotional core and theatrical craft, Marlowe regards the production as “fundamentally just right”.

The Times – Clive Davis highlights the success of the performances themselves – something which thus far appears lost in the awe-centred magical focus of many reviews. He praises Adrian Der Gregorian as Mr Brown, Amy Ellen Richardson as his wife, Bonnie Langford as Mrs Bird, as well as the children. In line with the aforementioned Sam Marlowe, Davis highlights plot points that don’t quite land – namely, Mrs Brown’s “notion of her as a creator of comic-strip heroes”.

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I cannot, for the life of me, find a single review lower than four stars; this alone speaks volumes about the musical’s excellence. From the production’s imaginative design to its flawless execution, Paddington The Musical has rightly earned its rave reviews. I wholeheartedly urge everyone to head to the Savoy Theatre and experience the magic for themselves.

Paddington the Musical is running at the Savoy Theatre, and is currently booking until October 2026. Get your tickets here.