The enduring appeal of political satire, and the characters at its heart, is once again on display with I’m Sorry, Prime Minister, the latest stage adaptation from writer Jonathan Lynn. The production, currently running at the Apollo Theatre in London, revisits the world of Jim Hacker and Sir Humphrey Appleby, decades after their initial television appearances, and explores their continued relevance – or perhaps, their charming irrelevance – in a rapidly changing political landscape.
The play finds former Prime Minister Jim Hacker, now a member of the House of Lords and master of an Oxford college, facing potential expulsion due to clashes with students over what the Guardian describes as his “affronts against woke orthodoxy.” Hacker, played by Griff Rhys Jones, predictably turns to his longtime civil service advisor, Sir Humphrey (Clive Francis), for assistance. This dynamic, the core of the original Yes Minister and Yes, Prime Minister series, remains the driving force of the new production.
Lynn, who co-created the original series with the late Antony Jay, directs alongside Michael Gyngell. The production builds upon a previous staging at the Barn Theatre in Cirencester in 2023, and, as noted in the Independent, represents a culmination of Lynn’s trilogy of adaptations bringing the beloved sitcom to the stage. The play’s ambition, signaled by a quote from Shelley’s “Ozymandias” delivered by Hacker’s care worker Sophie (Stephanie Levi-John), is to examine the fate of those once in power as they grapple with a world that no longer quite understands them.
The Independent’s review highlights a poignant undercurrent to the comedy, capturing “what it feels like to lose the power you spent your whole life chasing.” However, the play doesn’t shy away from tackling contemporary issues. The narrative incorporates themes of “woke” culture, trigger warnings, and safe spaces, though the Guardian suggests the satire on these topics is “slow” and “implausible.” Levi-John’s character, Sophie, a Black lesbian English graduate advocating for the removal of statues like Cecil Rhodes, represents a generational shift and a challenge to Hacker’s traditional worldview. The play, however, appears to navigate this territory with a degree of caution, as the Independent notes that even mentioning trigger warnings elicits laughter from the audience.
While the play doesn’t take explicit political sides, Lynn acknowledges in program notes, as reported by the Independent, that Margaret Thatcher was a fan of the original series. This historical context adds another layer to the production, suggesting a complex relationship between the satire and the political realities it reflects. The play’s exploration of age and irrelevance is particularly arresting, according to the Guardian, as it portrays the characters grappling with a world they barely recognize.
The performances are a key strength of the production. Rhys Jones is described as “blithering and pompous” as Hacker, while Francis delivers a nuanced portrayal of Sir Humphrey, balancing vulnerability with his characteristic “filibustering prolixity.” Levi-John is praised for her spirited performance in a challenging role, tasked with representing perspectives that Hacker frequently misunderstands. The dynamic between the three actors provides much of the play’s comedic energy.
Despite the low-stakes plot – the Guardian notes that “not a great deal happens” – the play’s enduring appeal lies in the familiar comfort of its characters and their witty banter. The conversational exchanges, such as a query from Hacker about Sir Humphrey’s views on austerity, allow Lynn to explore themes of power, relevance, and the changing nature of British society. The production, offers a nostalgic and often amusing reflection on a bygone era of political maneuvering, even as it attempts to engage with the complexities of the present.
I’m Sorry, Prime Minister is scheduled to run at the Apollo Theatre in London until . The production represents a final farewell to the beloved sitcom duo, offering fans a chance to revisit the world of Hacker and Sir Humphrey one last time, and to ponder the enduring questions about power, politics, and the passage of time that the series has always posed.
