Im Sorry Prime Minister: Review & Cast Highlights | The Stage

The enduring comedic partnership of Jim Hacker and Sir Humphrey Appleby has returned to the stage in I’m Sorry, Prime Minister, a new play by Jonathan Lynn, co-creator of the original Yes Minister and Yes, Prime Minister television series. Currently playing at the Apollo Theatre in London’s West End, the production, starring Griff Rhys Jones as Hacker and Clive Francis as Appleby, is proving to be a surprisingly topical and resonant update to the classic political satire.

The play finds Hacker, no longer in government, navigating the treacherous waters of academia as the head of an Oxford college. When he finds himself cancelled by the college committee, he inevitably turns to his old adversary, Sir Humphrey, for assistance. The premise allows Lynn to explore contemporary issues – dementia, trigger warnings, and the so-called woke brigade – through the familiar lens of Hacker’s hapless attempts to exert control and Appleby’s masterful obfuscation.

While the initial television series, which debuted in 1980, focused on the power dynamics between a politician and the civil service, this stage adaptation demonstrates a willingness to tackle more sensitive and often overlooked subjects. As one review noted, Lynn is brave (or old and therefore zero-f*ck-giving) enough to make jokes about dementia, incontinence and loneliness, issues rarely addressed directly in theatrical productions. This willingness to confront difficult realities, alongside the sharp wit audiences expect, is a key element of the play’s appeal.

Clive Francis’s performance as Sir Humphrey Appleby is particularly noteworthy. Described as a joy to watch, Francis embodies the character’s intricate blend of arrogance, intelligence, and bureaucratic maneuvering. Griff Rhys Jones, taking on the role of Jim Hacker, has received a more mixed reception, with some critics suggesting the casting isn’t quite right. However, the dynamic between the two actors remains central to the play’s success, echoing the chemistry that made the original series so beloved.

The play’s relevance extends beyond its topical themes. The original Yes Minister and Yes, Prime Minister struck a chord with audiences by exposing the often-absurd realities of British politics and the inherent tensions between ambition, and principle. I’m Sorry, Prime Minister continues this tradition, offering a satirical commentary on contemporary Britain and the challenges facing its institutions. The enduring appeal of the characters lies in their universality – the well-meaning but often inept politician and the cunning civil servant who knows how to manipulate the system.

Beyond the central pairing, the supporting cast also contributes to the play’s success. Levi-John and William Chubb, playing Hacker’s adversaries within the college, are praised for making the most of their roles, despite the characters being somewhat underdeveloped. This highlights Lynn’s skill in crafting comedic situations and dialogue, even within the constraints of a relatively simple plot.

Jonathan Lynn’s writing remains the driving force behind the production. His ability to construct a compelling set-up and deliver a satisfying punchline is evident throughout the play. The success of the original series, and now this stage adaptation, is a testament to his understanding of political satire and his talent for creating memorable characters. The play’s continued exploration of the relationship between Hacker and Appleby provides a familiar yet fresh perspective on the complexities of power and the enduring struggle between those who seek to control it and those who seek to preserve the status quo.

The production opened on January 27, 2026, and is currently running at the Apollo Theatre. It represents a significant moment for fans of the original series, offering a chance to revisit these iconic characters in a new context. The play’s willingness to address contemporary issues, combined with its sharp wit and strong performances, suggests that I’m Sorry, Prime Minister will continue to resonate with audiences for some time to come.