Tom Fletcher is a man of many talents, but his latest venture involves a certain duffel-coat-wearing bear from Darkest Peru. As he sits in his home, momentarily preoccupied with a new brood of chicks, the McFly co-lead singer reflects on the whirlwind success of Paddington: The Musical. The production has not only captured the hearts of West End audiences but has also solidified Fletcher’s status as a formidable force in musical theatre composition.
The transition from pop-rock stages to the hallowed halls of the Savoy Theatre was a natural progression for Fletcher. “I grew up at theatre school and then I became a songwriter with the band,” he explains. “But musical theatre was such a huge part of my life. Being a children’s author too, Paddington felt like the perfect blend of everything that I loved: songwriting, children’s stories, and musical theatre.”
A Bear in the Big City
Paddington himself, calling in from Windsor Gardens before a show day, seems equally enamored with his new life. “When I first arrived in London, I thought it was terribly loud. Now I know it isn’t just noise, it’s music!” the bear remarks. His presence on stage is a technical and emotional marvel, brought to life by the physical performance of Arti Shah and the vocal talents of James Hameed. The audible gasp from the audience upon his first appearance is a testament to the production’s magic.
The project began in earnest around the first 2020 lockdown. Fletcher was approached to handle the music and lyrics just days after being charmed by Paddington 2. However, the road to the stage was a five-year marathon of balancing multiple careers. “I was juggling this with being in a band, filming The Voice, and writing books,” Fletcher recalls. “Writing a musical is five years of your life and you can’t put your whole life on hold around that.”
Crafting the Sound of London
Working alongside scriptwriter Jessica Swale and director Luke Sheppard, Fletcher crafted a score that is as eclectic as the city it celebrates. Recorded at Abbey Road, the songs range from villainous power ballads like Millicent Clyde’s ‘Pretty Little Dead Things’ to rock-infused numbers for Mr. Brown. Fletcher even drew inspiration from the legendary Sherman Brothers for a charming ode to marmalade.
“We realised early on that each song had to be tailored for each character,” Fletcher says. “It allowed me to throw my toolbox of all these things into Paddington. The show is a love letter to London and all of the differences and diversity that we see around this city.” This sentiment is echoed in the show’s choreography and set pieces, including the vibrant “The Rhythm of London,” which serves as a tonic to the often-cynical view of the capital.
An Emotional Resonance
Beyond the spectacle and the marmalade sandwiches, the musical carries a deeper message that has resonated profoundly with audiences. In a divided time, the story of an outsider finding a home in London serves as a poignant reminder of the power of kindness. Fletcher notes that the show’s reception—including seven Olivier Awards—reflects a collective need for its message.
“I love getting the show report and hearing about audible tears,” Fletcher admits. “We’ve genuinely had messages from people who have come to the theatre with one mindset and said that the show has made them take a step back and think about their views. It’s truly unique in that sense.”
As Paddington himself puts it in a message to his fans: “Music is rather special because it belongs to everyone. Wherever you’re from, and whatever words you know, it can make you feel at home. It brings people together and I think that’s rather wonderful.”