There is something of a cult following of the political satire, following the 23 episodes of Yes Minister (1980–84) and 16 of Yes, Prime Minister (1986–88). Jonathan Lynn has written a new script, the first to be written alone since the death of his co-creator Antony Jay in 2016. This production imagines Jim Hacker and Sir Humphrey Appleby post their political lives, trying to make sense of the modern world.
The political satire enthusiasts in the audience at the Cambridge Arts Theatre are certainly not disappointed with what they have come to see as the script is as sharp and witty as the original series. The relationship between Sir Humphrey and Hacker is also part of the attraction, the fondness they have for each other, the joy they get in trying to outdo one another, is still fabulous to behold.
It is difficult to find anything negative to say about a play that is so well crafted. This version of Minister isn’t spectacular in depth or complexity, nor does it need to be. Lynn has worked hard to keep the essence of the original show without rehashing old jokes—this is not a tribute show. The audience is delighted, however, at experiencing Sir Humphrey having one of his endless rants or spin-inspired speeches.
The jokes about being out of touch with a new ‘woke’ generation are sometimes a little uncomfortable to hear, particularly when challenged by Michaela Bennison’s Sophie. The debate on which language can and can’t be used is an interesting one, particularly given the notion of free speech and ‘expressing an opinion’. There is an excellent exchange where Andy Hawthorne’s Sir David Knell reminds Hacker that he can have an opinion but must not express one at odds with the college that he is Master of.
This is a very wordy play; it relies on a fine interchange of discourse. In fact, there were many moments where I wondered whether the production might be better suited to radio, as with the Yes Minister radio version, adapted for the BBC previously.
This would mean, however, that one wouldn’t get to enjoy Lee Newby’s beautifully detailed set design, which is an homage to the mixture of Sir Humphrey and Jim Hacker’s golden political era of the '80s and the more modern buildings of today. I love the various books, the faded painting of parliament and the stray M&S bag clogging up the kitchen, almost symbolic of the mess Hacker finds himself in.
All in all, this is a terrific mini-tour, ending in Cambridge following on from The Theatre Royal Bath and The Barn Theatre, Cirencester, where it was produced. I only hope this is not the last we see of Sir Humphrey and Jim Hacker, even if this is billed as The Final Chapter.