I'm Sorry Prime Minister ⭐️⭐️⭐️⭐️

Jim Hacker, who was hoping for a quiet life in academia until a committee revolt and outrage threaten to remove him from his employment and his home. Sir Humphrey Appleby must help Hacker before it's too late.

Returning to the world of Yes, Minister and Yes, Prime Minister is a little like reopening a particularly witty political briefing you didn’t realise you missed. The satire may be rooted in decades-old television, but the humour, language, and observations about government bureaucracy feel astonishingly timeless. With I’m Sorry, Prime Minister, writer and co-director Jonathan Lynn brings audiences back into the chaotic orbit of Jim Hacker and Sir Humphrey Appleby, and the results are exactly the sort of sharp, intelligent comedy that fans of the original series will relish. The direction never feels overworked or contradictory. Instead, it is clear, confident and entirely focused on allowing the script and performances to shine. Comedy of this kind lives or dies by pace, and here the rhythm is handled beautifully. Scenes move swiftly, dialogue fires rapidly between characters, and yet the audience is never left struggling to keep up. It’s a delicate balancing act, but one handled with impressive precision.

The book also by Lynn retains all the hallmarks of the original television series: blisteringly clever dialogue, complex political manoeuvring, and speeches so labyrinthine they would likely leave real-life ministers reaching for a dictionary. The humour is relentless, and for the most part the jokes land brilliantly. There are moments where the audience barely has time to recover from one punchline before another arrives. Yet what makes the writing particularly enjoyable is its willingness to engage with contemporary political conversations. A few jokes take playful aim at modern cultural debates — including the ever-present discussions around “wokeness.” Some audience members may bristle at these moments, but they are very much in keeping with the satirical spirit of the original show. In truth, if you didn’t appreciate the political teasing of Yes, Minister, this new chapter probably won’t convert yu. What is perhaps more surprising is that the script also finds moments of genuine emotion. Beneath the jokes and bureaucratic chaos lies a quiet reflection on ageing, legacy, and the relationships that defined these characters’ careers. It’s a subtle layer, but one that adds welcome depth to the evening.

Visually, the production is grounded by a beautifully realised set and costume design by Lee Newby. The set creates an environment that feels instantly believable — a refined yet slightly cluttered academic office that perfectly suits Jim Hacker’s post-political life. What makes the design particularly effective is its attention to detail. The small touches scattered throughout the space make it feel genuinely lived-in, while still maintaining the clean aesthetic required for a fast-moving stage comedy.

The costume design complements this wonderfully. There’s a pleasing blend of modern tailoring and nostalgic echoes of the television series, subtly reminding long-time fans of the characters’ origins while ensuring the production still feels contemporary.

Lighting designer Mark Henderson delivers a design that is beautifully subtle. Rather than drawing attention to itself, the lighting quietly enhances the environment and ensures the focus remains firmly on the performers and their rapid-fire exchanges. It’s the sort of understated work that audiences may not consciously notice, but which plays an essential role in shaping the atmosphere of the piece.

Similarly, the sound design by Ben and Max Ringham is impressively well balanced. The actors are equipped with microphones, something that is slightly unusual for a play, yet the design is so naturalistic that it quickly becomes invisible. Dialogue remains crisp and clear throughout, while the musical interludes are pitched at exactly the right level, adding texture without ever overpowering the scene.

Griff Rhys Jones leads the production as Jim Hacker, capturing the character’s mixture of bluster, vanity, and vulnerability beautifully. His Hacker is every bit the well-meaning yet perpetually bewildered politician audiences remember, and brings a warmth to the role that makes him consistently engaging to watch.

Opposite him, Clive Francis delivers a truly outstanding performance as Sir Humphrey Appleby. The role is famous for its impossibly dense monologues and complex phrasing, and Francis handles them with remarkable ease. His speeches are delivered at breathtaking speed yet remain perfectly clear, earning well-deserved bursts of applause from the audience. The chemistry between the two actors is one of the production’s greatest strengths. Their exchanges feel effortless, and their long-established dynamic, Hacker’s confusion meeting Humphrey’s linguistic gymnastics, remains just as funny as ever.

Stephanie Levi‑John provides a strong presence as Sophie. Her performance brings a refreshing modern energy to the production, and her subtle reactions often generate some of the evening’s most enjoyable comedic moments.

Meanwhile, William Chubb as Sir David makes a memorable impression despite having less stage time than the rest of his colleagues. Whenever he appears, he brings a confident authority to the role that immediately commands attention.

One of the most pleasing aspects of the performances overall is how natural they feel. Nothing is exaggerated or forced. Instead, the actors play their roles with a grounded realism that makes the audience feel almost like silent observers inside the room, listening in on these absurdly complicated political conversations.

Now playing at the Apollo Theatre, the production feels like a welcome reunion with two of Britain’s most beloved political characters. But rather than simply trading on nostalgia, it successfully updates the satire for a modern audience while remaining faithful to the tone and rhythm that made the television series such a classic. I’m Sorry, Prime Minister is a witty, intelligent and thoroughly entertaining return to one of Britain’s most iconic political comedies. With razor-sharp writing, outstanding performances and direction that understands exactly how to deliver this style of humour, the production proves that Jim Hacker and Sir Humphrey Appleby remain as relevant, and as hilarious, as ever.

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