Yes, Prime Minister

A fabulous evening was spent watching Fylde Coast Players’ production of Yes, Prime Minister.

On arrival at the Lowther Pavilion, I did have a moment of panic as I was greeted by a locked door and a dark, empty foyer. I genuinely questioned whether I had the correct date. Thankfully, I spotted fellow theatre goers heading around the side of the building, which led me to The Chapman Studio. This was my first time seeing the space, so it was a lovely surprise and a great way to start the evening.

As I approached, the large LED advertising board immediately caught my attention and gave a really modern feel to the venue. The studio foyer, which doubles as a box office and bar, was a little tight on space, but it worked well enough for the audience. I was warmly welcomed by Carole Morley and Jenny James, who were both friendly and helpful in showing us to our seats. Although I had requested seats slightly further back, we found ourselves right at the very top corner. That said, it did give us a full view of the stage and the lighting rig.

The space is set up end on, and as we walked in, we were able to take in the set up close. The set was a detailed recreation of the Prime Minister’s study at Chequers. It was clear that Tim Greenwood, alongside Fylde Coast Players and the props team, had put a great deal of care into getting the finer details right. The furniture, including the Chesterfield sofas and armchair, worked beautifully with the dark wood units, and of course the green desk lamp helped to ground the setting instantly.

What I particularly enjoyed were the smaller details. The scattered papers looked natural and added to the sense of a busy working environment, and the artwork on the walls helped complete the look, especially the portrait of Queen Elizabeth II which felt very fitting within the space.

The lighting rig in the studio is impressive. While it was used effectively to show the transition from early evening into night, I did feel there was an opportunity to make more of it. With the set positioned slightly further forward, one of the lighting bars sat behind it and was limited in use. This was mainly used to light the outdoor terrace area, which was a nice touch, but I would have liked to see that space used more, perhaps as an entrance or exit to add another layer to the staging. That said, the use of practical lamps across the set worked really well and helped create a warm, intimate feel.

Coming into this production without any prior knowledge of the TV series or the play itself meant I was experiencing it completely fresh, which I really enjoyed.

We were first introduced to Sir Humphrey Appleby, played by Andy Cooke, and Bernard Woolley, played by Joe McLafferty. These two set the tone for the evening brilliantly. Joe gave a really strong performance, capturing Bernard’s nervous energy and loyalty. He remained consistent throughout, which is no small task given how much he was on stage, and his attention to detail in his reactions and mannerisms made his performance very believable.

Andy Cooke stood out from the moment he entered. His delivery of Sir Humphrey’s long and often complex speeches was confident and clear, and it was obvious these were moments the audience were really enjoying. The response he received showed just how well these were landing. One of my favourite moments came during a discussion about the use of the royal helicopter, where Andy turned to the portrait of the Queen and silently apologised. He returned to it again with a subtle nod. It was a small detail, but a lovely piece of character work that really added to the humour.

Catherine Hughes played Gemma Hacker as the Prime Minister. She brought a strong presence to the stage from her first entrance. She took control of the space well and carried the role throughout both acts, which is a huge achievement given the scale of the part. Her interpretation was clear, though at times her delivery felt quite sharp, which created a slight sense of tension. That said, this could reflect the pressure of the role itself. There was a brief moment where prompting was needed, but she recovered quickly and continued without disrupting the flow of the scene.

Heather Cartmell, playing Claire Sutton, offered a more understated performance which, on reflection, suited the character well. As a special policy advisor, this more reserved approach felt appropriate, and she delivered some well timed comedic moments that landed nicely with the audience.

The storyline took an unexpected turn with the introduction of the search for a call girl for the Kumranistan dignitary. This was not something I was anticipating, but it added a strong comedic twist that the audience clearly enjoyed.

Phil Allen, as the Kumranistan Ambassador, gave a bold performance. Some of the character choices, particularly the sunglasses, felt slightly distracting, although they did contribute to a more exaggerated style. The costume choice of nightwear made sense within the context of the scene, and overall the character added to the humour of the piece.

The arrival of the BBC brought a new energy to the stage. Don Green, as the Director General, presented a suitably formal character. There were moments where the prompt was needed, but this is part of live theatre, and it is important to recognise the role of the prompt in supporting the performance. Orla O’Beirne carried this out attentively throughout.

What I particularly liked was the decision to incorporate the prompt into the scene as part of the BBC team. This was a clever touch, allowing support to be given while still maintaining the world of the play. The clipboard and movement made it feel purposeful and part of the action, which was a really nice directorial choice.

Gill Drinkwater, as Laura Chester, gave a confident and assured performance. She came across as a journalist determined to get answers, and her presence added a strong sense of realism to the scene.

Behind the scenes, Stage Manager Richard Spilman clearly played a key role in keeping the production running smoothly. The entrances and exits were slick and well timed, which helped maintain the pace of the performance and showed a strong level of organisation backstage.

Overall, the direction from Paul Lomax ensured the story was clear and easy to follow. As someone new to the play, I never felt lost, and the relationships and key moments were communicated well. There was a good understanding of the comedic style, and the pacing allowed the humour to land effectively with the audience.

Fylde Coast Players should be very proud of what they have achieved with this production. It was an enjoyable introduction to Yes, Prime Minister, and it was also a pleasure to experience The Chapman Studio as a performance space. It is clear that this venue has great potential for future productions.

Thank you to everyone involved for an entertaining evening and for the opportunity to experience both the production and this new theatre space. I look forward to seeing what Fylde Coast Players bring to the stage next.

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