Paddington at the Al Hirschfeld- Page 3

[rosscoe(au)]

Posted: 4/13/26 at 9:44pm

malcs98 said: "Dolly80 said: "Expect an announcement very soon.. even as soon asthis weekend when it wins at the Oliviers."

How do you know this? Do you have a solid inside source?"

Sometimes you should just believe 

Updated On: 4/13/26 at 09:44 PM

[Wick3]

Posted: 4/13/26 at 10:04pm

With all the awards it won I was looking at tickets this fall and front orchestra seats are £345!

[DrewJoseph]

Posted: 4/14/26 at 6:32am

Felt exactly the same, but judging by most reactions, we are in the minority on this one. Definitely curious to see how Broadway will feel about it.

[DiscoCrows]

Posted: 4/14/26 at 2:53pm

With this all but confirmed coming to NYC, I’d hope that we get most or all of the original cast members transferring with it.

... but, if they didn’t end up going that route … who does everyone want to see in this? Whose your dream Millicent Clyde?

[Ptero2]

Posted: 4/14/26 at 2:56pm

DiscoCrows said: "With this all but confirmed coming to NYC, I’d hope that we get most or all of the original cast members transferring with it.

... but, if theydidn’tend up going that route …who does everyone want to see in this? Whose your dream Millicent Clyde?"

I’m imagining a Bonnie Milligan “Pretty Little Dead Things” and it feels right 

[EDSOSLO858]

Posted: 4/14/26 at 3:11pm

DiscoCrows said: "With this all but confirmed coming to NYC, I’d hope that we get most or all of the original cast members transferring with it.

... but, if theydidn’tend up going that route …who does everyone want to see in this? Who’s your dream Millicent Clyde?"

First up on my replacement list is Grace McLean. 

Or, if it doesn’t last that long, she can do it on tour if it’s Equity. 

Updated On: 4/14/26 at 03:11 PM

[binau]

Posted: 4/15/26 at 3:27am

I returned to see Paddington again for the 2nd time (first was a very early preview), first performance since the Olivier win. The audience was actually quite 'general', clearly almost everyone had just booked tickets to see the show as a matter of general business rather than as I did waiting for this moment (which makes sense because the show is selling so well unless people thought to do this months in advance they wouldn't get a ticket, they are now advertising best availability next year which I've never seen before in London or even New York - was Hamilton like this?). 

I have been wondering for a few months whether Paddington is a little overhyped because the standards of London new musicals are typically lower than New York. The show IS surprisingly long, and I wondered how much of the score I really like vs filler. 

Well, the show was even better than I remembered it to be. I really do think it's excellent - physical design is absolutely stunning and one of the best I've ever seen. The amount of detail, creativity and money that has been poured into it is overwhelming. We just don't see this in new musicals anymore. 

The show is very well written, with a clear story, reasonably fleshed out characters for this kind of show, more than a few smart and funny lyrics, a score full of hits that I do believe mostly forward the story, with a couple of breaks for perhaps light entertainment but even then I'm so impressed how they manage to weave in the book. For example, the way they setup "Marmalade" or "It's Never Too Late" within the context of the story and characters. The show unlike many new British musicals (e.g. Standing on the Sky's Edge) does not 'break the New York rules' of what makes a good musical. Unlike many musicals, I didn't really switch off in Act Two or thought they struggled to find a story to tell. 

Almost every single person in the cast is EXCEPTIONAL. Amy Ellen Richardson almost made her case for why she should have won the Olivier over Victoria, her performance much more emotional and deep than I remembered it to be last time. And really important to setup the motivation behind the story. Victoria Hamilton-Barritt's exceptional sultry gorgeous vocals and charismatic stage presence continues to bring the house down and her song "Pretty Little Dead Things" is one of the best new musical songs I've heard in years. Bonnie Langford also makes a case for winning an Olivier (why wasn't she nominated)? And I must admit I did find it incredibly moving to see the staging again of a Rose in Gypsy style 'MRS BIRD' given she was Lansbury's Baby June. They also make so many hilarious references to her legend status about being in Cats and being a West End Star. How will it work without her? 

The speaking and singing voice of Paddington is so pure, clean and clearly intentional. I am convinced the director (Luke Shepherd) has New York-style sensibilities about vocal quality and timbre because many of his shows (e.g. the London & Juliet and Starlight express productions) bring a quality I see much more common in New York than London. 

I also think that the show is an extremely moving love letter to London and the United Kingdom, which is desperately needed at the moment in the current political and economic environment. We do need to be reminded of what makes London a great place, and subtle details such as the NHS badge on Tony's immigrant mother, well integrated multi-ethnic communities, the LGBT lanyard on the train workers at Paddington station, the celebration of British culture in the Rhythm of London etc.. is well appreciated and not lost on me.. I'm not sure if Americans will really feel much here, but I feel it deeply. 

This show is a new Les Mis, a new Phantom, a new Hamilton. I usually think they should recast most London transfers with New York actors but in this instance I believe the entire original cast should transfer to New York City, and maybe it'll flop but who cares at this point. So many shows flop let people sink money into it if they want to. 

At the end, the lead actor gave a speech and they handed out the Olivier awards around the actors. The cast were absolutely ecstatic 

I believe I have been part of theatre history right now. 





 

Updated On: 4/15/26 at 03:27 AM