Paddington at the Al Hirschfeld — Page 2

Paddington is fine. Some fun songs. And adorable bear. But a terribly overstuffed second act which just made me want the evening to end. And the fully superior Matilda did not last long on Broadway.

If PADDINGTON has a MATILDA or BILLY ELLIOT-type run if/when it comes to NY, odds are it will not be profitable.

darquegk said: "I've said before, I'd like to see this show be successful. But if I were a big producer instead of an out of town small fry, I'd be wary: if shows often make back some of their money on the road or in licensing, how do you tour or license a show so dependent on a high-intensity special effect like this? Will regionals and schools still want to pay up to do Paddington when it's a high school freshman in a hat with ears, instead of a three-person animatronic puppet?"

Shrek has been incredibly successful in licensing without each production having expensive ogre prosthetics. Some just have a green headband with ears and it works just fine.

But the magic trick they're pulling off in the London production was worth every pound. It was glorious. Act Two does wander a bit and I hope they continue to work on it because it has the potential to be huge.

Updated On: 4/8/26 at 02:35 PM

EDSOSLO858 said: "If PADDINGTONhas a MATILDA or BILLY ELLIOT-type runif/when it comes to NY, odds are it will not be profitable."

The difference is that Paddington doesn’t have loads of kids in it. That made Matilda and Billy E unprofitable on Broadway due to astronomical running costs.

darquegk said: "I've said before, I'd like to see this show be successful. But if I were a big producer instead of an out of town small fry, I'd be wary: if shows often make back some of their money on the road or in licensing, how do you tour or license a show so dependent on a high-intensity special effect like this? Will regionals and schools still want to pay up to do Paddington when it's a high school freshman in a hat with ears, instead of a three-person animatronic puppet?"

But not every single show on Broadway or in the West End goes to schools. They can just have Broadway/West End runs and then that's it.

RippedMan said: "Short answers: Yes. If it's a school play with a kid in some Bear ears, it'll still be a hit. The show is good. And it's better than just the gimmick."

Couldn't agree more.

malcs98 said: "Tag said: "The animatronic is the gimmick. If the West End production was using a "hat with ears", we wouldn't be talking about this show right now.

The show is too expensive to make sense on Broadway."

While that is true, the animatronicis more than just a gimmick for Paddington…it’s also an incredible marketing tool, I mean it had a featurefor BritishVogue, it performed on Strictly Come Dancing,and it presented at the BAFTAs. If they keep this up and apply this same tactic for Broadway, the possibilities are certainly endless."

Hell, he had tea with the Queen:

https://youtu.be/7UfiCa244XE?si=YD2b1bgEsXiDbYcl

witchoftheeast2 said: "darquegk said: "I've said before, I'd like to see this show be successful. But if I were a big producer instead of an out of town small fry, I'd be wary: if shows often make back some of their money on the road or in licensing, how do you tour or license a show so dependent on a high-intensity special effect like this? Will regionals and schools still want to pay up to do Paddington when it's a high school freshman in a hat with ears, instead of a three-person animatronic puppet?"

But not every single show on Broadway or in the West End goes to schools. They can just have Broadway/West End runs and then that's it."

Very few shows don't enter licensing. It's how creators continue to make money once the original productions close and it keeps the shows in the canon.

this is 1000% going to transfer and its not a gimmick, the entire production is wonderful as reflected by its multipul Olivier wins for performance, design, direction and music

I wish this would run at the Majestic instead, and Evita can go in the Hirschfeld

Updated On: 4/13/26 at 04:57 PM

Six is very British and easily recouped, as did Billy Elliot & Matilda. War Horse was also very British and went into the black, you could argue the same for Kinky Boots.

This show is being helmed by Sonia Friedman who is the best in producing and knows the Broadway market.

This show will need to hit $2m a week which seems the soft spot for a big show to recoup, saying that if the show is good the midtown crowd will come out from the tri-states.

If she says it’s coming in, it’s coming in.

Look, this show may not be everyone’s cup of tea, but it’s damn entertaining and visually stunning. Thanks to many of you expressing your excitement, even before the first preview, I risked one of my London Christmas slots. It was so incredibly worth it: I have no shame in admitting that I had streams of joy cascading down my face throughout.

Paddington is not just some person in a bear suit so much as a fully realized character; as much as I’ve seen in all my years of theater-going. With that said, as all shows, you don’t have to see it, but there’s absolutely no need to poo poo something you’ve never seen, especially if it gives others so much joy (by all means, be critical to your heart’s content if you have seen it).

I can’t wait for that little bear to convince even the most cynical and jaded New Yorkers that this show is worth their time and money. He and this show certainly did that for me. And hopefully next season, god knows we certainly need some unbridled joy in the world right now 🙏🤞!!!

Updated On: 4/13/26 at 09:32 PM