The final chapter of the British political satire 'Yes, Minister' series, following Jim Hacker's retirement and a modern university crisis involving cancellation culture.
The Theatre Royal in Brighton is hosting the final chapter of the political satire series created by Jonathan Lynn, titled I'm Sorry, Prime Minister, from 14 to 18 July 2026. This production catches up with an older Jim Hacker, who has moved on from Downing Street to become the Master of Hacker College in Oxford. The plot centres on a very modern dilemma: Hacker finds himself at risk of being 'cancelled' by a college committee. To navigate this, he once again turns to the bureaucratic expertise and complex latinisms of Sir Humphrey Appleby. It’s a setup that brings the classic dynamic of the original Yes, Minister series into a contemporary setting, touching on themes like Brexit and institutional bureaucracy.
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The production, brought to the stage by The Barn Theatre, features Griff Rhys Jones as Jim Hacker and Clive Francis as Sir Humphrey Appleby. They are joined by William Chubb and Stephanie Levi-John, who plays Sophie, under the direction of Jonathan Lynn and Michael Gyngell. For those planning their week, the performances are scheduled for 19:30 each evening from Tuesday to Saturday. If you prefer a daytime outing, there are matinee shows at 14:30 on Wednesday, Thursday, and Saturday. The play runs for approximately two hours, including an interval, which is a fairly standard length for an evening at the theatre.
In terms of getting tickets, prices start from around £20.00, though some platforms list entry-level seats at £38.00 plus booking fees. The Theatre Royal has also implemented AudioEye technology to improve digital accessibility for those booking online. The show is primarily aimed at adults and anyone who followed the original television series, as it leans heavily into the specific brand of British political comedy that Lynn is known for. It’s an interesting opportunity to see how these long-standing characters handle the social and political shifts of the 2020s without the usual hyperbolic marketing surrounding West End transfers.
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