Yes Prime Minister Review

Yes Prime Minister

Salisbury Playhouse, Salisbury

This a production of Yes, Prime Minister that has been surviving for nearly three years. It started at the Chichester Festival Theatre, went to the West End three times, and is now on its third tour. After all this Anthony Jay and Jonathan Lynn have made modest attempts to keep this treasured sitcom up to date. From the start the play is full of references that are familiar to today’s audiences. It follows Jim Hacker and Humphrey Appleby as they struggle to deal with the recession, oil, illegal immigrants, sex trafficking, global warming, the EU and the BBC.

However, despite these easy targets, the dialogue lacks the wit that is cherished in the original TV series, and a lot of the first act received nothing but titters. The production feels as though it is going through the motions, as the writers tick off each item on a list of current issues. Some have recently been added, including the new BBC general manager, but other references are out of date, such as mentioning the Weakest Link. Furthermore, many of the current issues included have been around for years so that any satire around them feels a bit old hat. It is only by the second half that the play gradually turns into a farce. It does generate more laughter, though by the time Hacker starts asking God for advice, Yes, Prime Minister has entered into the absurd

What does work is the relationship between Jim Hacker and Humphrey Appleby who are played, though with some exaggeration, by Michael Fenton Stevens and Crispin Redman. It is charming to watch the two try and get the better of each other. Michael Fenton Stevens was an idealistic but pompous and incapable Hacker. Crispin Redman meanwhile is the pragmatic and diligent, but slippery Humphrey who gets a round of applause every time he produces a long-winded monologue. Elsewhere, Michael Matus played a moralistic but simple minded Bernard Woolley, whilst Indra Olive was an astute adversary to Humphrey as Hacker’s policy advisor, Claire Sutton.

The set is nicely detailed, showing Hacker's study at Chequers. The sound effects are a bit loud, and at one point the cast have to speak over the sound of rain, which sounds as if they were outside. Altogether, whilst making every reference to the current political climate, the production lacks the ‘gold standard’ of the original TV series. Either Anthony Jay and Jonathan Lynn should rewrite the play or they should bring this tired production to an end. That said, the cast is enjoyable to watch, and if you enjoy a good farce then try this production out at a low Bargain, otherwise be wary when seeing this.