The New Statesman

The New Statesman is an irresistibly sharp British political satire that ran on ITV from 1987 to 1994, directed by Geoffrey Sax and Marcus Mortimer. The show primarily stars Rik Mayall, a cornerstone of British comedy known for his hilarious over-the-top performances and the series' simultaneously outlandish and sobering look behind the scenes of British government.

Rik Mayall plays the main character, Alan B'Stard, a fictitious ultra-conservative Member of Parliament, whose unashamedly self-serving, unpalatable, and politically incorrect behavior humorously exposes the moral deficiencies and hypocrisy embedded within the political landscape. Mayall's exuberant performance, along with whip-smart dialogue, makes The New Statesman a commentary on the dark side of politics that is as hilarious as it is insightful.

Adding depth to the narrative is the talented cast surrounding Mayall. Marsha Fitzalan plays Alan's estranged wife, Sarah B'Stard, who effortlessly matches his cold-hearted cunning with her spirited performance. Their complex and chaotic relationship adds another scintillating layer to the show, making for hilarious confrontations and power plays. The talented Michael Troughton plays Piers Fletcher-Dervish, a gullible and often-abused assistant to B'Stard whose naïvety puts him continually at odds with the Machiavellian MP.

Terence Alexander, Paul O'Grady, and Patrick Godfrey add character and color to the comedy, each playing a multitude of roles within the broad, twisted world of Westminster. The presence of Hugh Laurie, known worldwide for his comedy and drama roles, significantly boosts the comic value of the show. His diverse performance in a number of distinct supporting roles makes for some memorable comedic moments.

The show's script, penned by Maurice Gran and Laurence Marks, is consistently sharp, intelligent, and fearlessly provocative. It showcases British politics at its most scandalous—ripping apart the ruling Conservatives, the opposition Labour, and everyone in between. The New Statesman introduces a host of vivid, unscrupulous and power-hungry characters that exploit their positions for personal gain, satirically reflecting political reality.

Situations border on the absurd, with B'Stard often exploiting governmental loopholes for his own advantage or orchestrating audacious political schemes. Yet, within the humor lies a sobering commentary on the extent of political scheming, bureaucratic ineptitude, and ethical compromise that potentially permeates the corridors of power.

The cast is complemented by memorable guest performers such as Steve Nallon, Vivien Heilbron, Benjamin Whitrow, Brigitte Kahn, John Carlin, Rowena Cooper, Berwick Kaler, and Nick Stringer, among others. They play a myriad of characters that elicit laughs while adding depth to the overall narrative. The narratives in The New Statesman highlight a range of societal, political, and moral issues through audacious plot devices and quick-witted dialogue.

The production values of The New Statesman are reflective of the era, with the indoor sets reflecting the ostentatious opulence of B'stard's world while juxtaposing this against the grey, imposing structures of British Parliament. Costume design, too, plays a significant role in character development, with outfits often used to highlight the personalities and motivations of the characters.

Despite its duration of five series and a handful of specials, The New Statesman retains its original humor and cutting-edge commentary throughout its run. The show's bold and unflinching satire of British politics makes it more than just a comedy show—it’s a thought-provoking critique of institutional misconduct and the power of personal ambition.

In summary, The New Statesman is a must-watch for those who appreciate political satires. Its blend of compelling performances, smart and humorous scripts, and its satirical take on British politics make it a standout show. It is a testament to the timeless, gripping appeal of political satire and remains relevant and entertaining to this day. Although it is rooted in the political climate of the 1980s and 90s, it remains acutely relevant today, its satire transcending the confines of the era it initially set out to lampoon.