Written and directed by Jonathan Lynn, with co-director Michael Gyngell, this clever final chapter brings one of Britain's best-loved political comedies to a fitting and thoroughly entertaining conclusion.
Going into the performance, I wasn't quite sure what to expect. My memories of the original series were limited, so I wondered whether I'd struggle to follow the story or miss references. Thankfully, that wasn't the case at all. Instead, I found myself completely drawn into a witty, character-driven production that stands confidently on its own. With a cast of just four and the entire play taking place in a single room, there are no elaborate scene changes or flashy special effects. It proves that great writing and exceptional performances are all that's needed to keep an audience thoroughly entertained from beginning to end.
The story catches up with former Prime Minister Jim Hacker in his later years, living comfortably thanks to a lifetime arrangement with his Oxford college. However, when the university decides it wants to reclaim his accommodation, Hacker finds himself fighting to protect both his home and his legacy. As always, he turns to his long-serving and ever-resourceful Cabinet Secretary, Sir Humphrey Appleby, whose mastery of bureaucracy, political manoeuvring and wonderfully convoluted language is as sharp as ever. Alongside them is Sophie, Hacker's care worker, whose modern outlook provides the perfect contrast to the old-fashioned attitudes of the two political veterans. As the characters reflect on politics, ageing, social change and friendship, the result is a play that is laugh-out-loud funny while also offering surprisingly touching moments.
Clive Francis is simply outstanding as Sir Humphrey Appleby. He steals scene after scene with impeccable comic timing, endless eloquent speeches and wonderfully expressive mannerisms. I absolutely fell in love with the character. Sir Humphrey is both infuriating and utterly charming, and Francis delivers a masterclass in bringing him to life.
Robert Kitson, stepping into the role of Jim Hacker, does a fantastic job following Simon Rouse. His Hacker is politically incorrect, often unintentionally so, but remains incredibly likeable throughout. Watching him repeatedly put his foot in it, only to dig himself even deeper, provides many of the evening's biggest laughs. He's a wonderfully human character whose flaws only make him more endearing.
Princess Donnough is excellent as Sophie, Hacker's care worker. She brings warmth, confidence and plenty of humour to the role while never allowing herself to be overshadowed by the political heavyweights around her. Sophie's character confidently challenges the outdated assumptions of the older generation, demonstrating that Black, gay women not only belong in positions of responsibility but thrive in them. She delivers some of the production's funniest moments as she patiently – and sometimes not so patiently – teaches Hacker and Sir Humphrey what can and can't be said in today's world.
William Chubb provides another memorable performance as Sir David, affectionately nicknamed the "Grim Reaper" thanks to his role in delivering the unwelcome news that the university wants to end Hacker's comfortable lifetime arrangement. His dry delivery and understated humour make him the perfect addition to the cast, balancing the more energetic exchanges between the other three characters.
I'm Sorry, Prime Minister is a wonderfully written farewell to these iconic characters. It's light-hearted entertainment packed with clever humour, sharp political satire and genuinely joyful moments, while also exploring the realities – and occasional absurdities – of growing older. Whether you're a lifelong admirer of Yes, Minister or completely new to the world of Jim Hacker and Sir Humphrey, this production is easy to enjoy and consistently funny.
Showing at 
Milton Keynes Theatre until Saturday 4 July, this is a clever, nostalgic and heartwarming comedy that proves brilliant writing and exceptional performances never go out of style.
