I’M SORRY PRIME MINISTER
Another play based on a massively successful TV series, one that cemented the UK’s position as the greatest producers of sharp edged political satire and writer Jonathan Lynn as its greatest writer. In the busy halls of Westminster he pitched idealistic and somewhat naive Jim Hacker against Sir Humphrey Appleby, the immovable civil servant and his intellectual superior, and in doing so two comedy legends were born.
Now they are back, older of course and brought back together as once again Hacker needs Appleby to rescue him.
Lord Hacker as he now is has made some politically incorrect remarks and is being forced to resign from his post as Master of Hacker College, Oxford, a role he is reluctant to give up. Sir Humphrey is called upon to help but on arriving reveals that his daughter in law has, using Machiavellian machinations once his own stock in trade, stripped him of his money, his homes and his dignity, hoisted by his own petard. Hacker has a care worker, smart, black and gay, ticking all the boxes as they say and together they form a somewhat odd and unlikely team to try and thwart Sir David, the representative of the college fellows and student body. The premise is well thought out, it moves at a pace and as expected is packed with sharp wit and pointed comment, as indeed the originals were. One has to remind oneself that without Yes Minister and Yes Prime Minister we would perhaps never have had the joys of The Thick Of It.
All this in place, and so well placed, it is hard to push aside the fact that the originals created some of the most iconic comedy performances of the time, but push them aside we must and in turn so must the director and cast of this new play. Jonathan Lynn has done just that and although their characteristic traits are there, the company play it afresh, and thank heavens for that.
Princess Donnough plays Sophie, modern women, politically correct and politically adept with an Oxford first, a fiancee and now looking for a future having spent years caring for her parents. She plays the part so delicately allowing the laughs to come naturally, a gentle yet powerful performance, believable and utterly charming.
William Chubb is Sir David, the man handed the poisoned chalice and charged with ousting Hacker, his dark presence is likened to the grim reaper and he certainly exudes a sinister presence but it is a presence with an underlying sympathy.
Robert Kitson plays ex-prime minister Jim Hacker, older and somewhat wiser but still bumbling through his later years making silly mistakes at every turn. But most importantly in act two his supposed misdemeanours are at the core of Lynn’s acerbic poke at woke society. It’s an argument well presented that I am sure rang so very true with those of us in the audience who are so often threatened with being cancelled simply for saying that so much modern thought is simply censorship and that denial is almost worse than accepting past mistakes and learning from them.
In saying this, this present Jim Hacker, whilst still a bit of a buffoon, is perhaps a wiser man.
Sir Humphrey is played by Clive Francis in a performance so physical that it denies his years. The long and convoluted speeches are there of course and he delivers them with breathless speed and confidence leaving the cast and audience in awe. This is a masterclass in almost every element of theatrical art. Humphrey’s former confidence has been somewhat dented by his devil woman daughter in law, but when called to arms, he’s still got it, and Clive Frances has got it in spades.
This is a charming play, beautifully played and designed, and, casting aside memories of the original players, it works very well indeed. It does of course require the back-story created for TV to make it work which will for many arouse those memories, but once those are pushed aside this is a delightful swan song for Jim and Humphrey and a sharp dig at an over zealous woke society.
Andrew Kay
14 July
Theatre Royal Brighton
Rating:
