Making its greatly anticipated return, Dear England officially kicked back into action at the National Theatre this week, where it will play for the next 10 weeks before heading up North to play away for the first time. After already a tremendous run at the National Theatre in 2023, and a stint at the Prince Edward theatre last year, the show is proving to be one that audiences just can’t get enough of.
The brilliant book by Jame Graham has now been updated to include Southgate’s closing stint as England’s manager, following last year’s heartbreaking loss at the Euros. Exploring the heavy duty that comes with representing your country – both the good and the ugly – Graham expertly delves into what football really means for England. How deep is the conflict between the game and the nation, and how heavy is the pressure on its players?
Graham offers a captivating study on football’s effect on its team and its fans, and how intense it really is for something that should be for enjoyment. A constant battle between national expectations, and the mental strain it results in on the team, with all the societal constraints they must face along the way. It’s a fascinating study of the beautiful game, and powerfully important of the lack of equality still evident in England.
Gwilym Lee takes over the lead as Gareth Southgate, playing him with the utmost respect and duty. He’s the perfect leader for the show, both as the character and as a performer, ensuring the play moves with the desired pace. He has taken over the role with such conviction and understanding, whilst offering a fresh take, making the play feel new and nowhere near an imitation of its original run.
Liz White excellently holds the stage as Pippa Grange, maintaining a cool, calm and collected female powerhouse, whilst serving a reminder of the lack of gender inequality in the field. Her performance is wonderfully composed and serves to challenge the team and their ideas, whilst equally enabling the audience to question their own opinions.
Ryan Donaldson is every bit the lovable comedic as Harry Maguire, Tane Siah is joyously innocent as Buyako Saka and Ryan Whittle has mastered his performance as Harry Kane – keeping the audience in fits of laughter throughout.
Felixe Forde is a standout performance throughout, mastering her character profiles and entertaining the audience. It’s a real pleasure to see the line of imitation and caricature being tread so considerately. As the play is so current it could run the risk of being a bit too on the nose, but all performances manage to perfect the balance of respect, light hearted jest and imitation, that there’s no room for anything but enjoyment.
Rupert Goold’s direction is a testament to his care and respect for the book. Treating it with all his attention, it’s obvious why the end result is so masterfully presented. As intended within a football team, it’s evident the cast and crew has worked collectively to create this show. You can feel the love and support throughout.
Es Devlin created powerfully dynamic staging, making use of the theatre’s rotating stage. It adds additional effect and energy to the production, for example one of Southgate’s internal monologues explores how outside factors surround the conscious – Devlin has the physical people circling Southgate as he expresses his internal fears.
Marrying Devlin’s staging with Ellen Kane & Hannes Langolf’s movement direction has created an end result of immense power and dynamics that keeps you on the edge of your seat. The Act One ending with the penalty shoot out was so wonderfully choreographed, you couldn’t help but watch in anticipation (although we all know what happens).
The production is a very welcome re addition to the London Theatre scene, and a hugely important one to be heading on tour. I am thrilled more people will be able to experience the show and for it to continue to go from strength to strength.
★★★★★
Reviewed by Annie King
Photo by Marc Brenner
