Review: Dear England at National Theatre
⭐⭐⭐⭐ (Four Stars)
In Rufus Norris’ final season at the National Theatre he is bringing back several of the most beloved productions from his tenure as Artistic Director, with Dear England currently coming home to the Olivier Auditorium. Directed by Rupert Goold, this Olivier-award-winning play, which originally premiered at the National in 2024, tells the transformative story of Gareth Southgate’s time as captain of the England football team. It explores how Southgate used his position not just to lead the team but to change the deeply ingrained notions of masculinity present. This return to the National Theatre comes ahead of the play’s UK tour, and it remains a compelling piece that resonates with both football fans and newcomers to the sport alike.
As someone with little prior knowledge of Gareth Southgate or football, I found the context provided by the play incredibly helpful. The audience learns about the heartbreaking moment when Southgate missed a penalty in the 1996 Euro semi-finals. This moment of failure, which haunted him for years, serves as the catalyst for his desire to redefine the culture of the England football team when he took on the role of manager. The psychological toll of the event is depicted with nuance, offering insight into Southgate’s determination to foster a healthier, more open environment within the team. Southgate brings in a psychologist to open up conversations about mental health, something traditionally taboo in football’s masculine culture. At first, the players resist this new approach, but as the play unfolds, we witness their transformation, not only in their game but in their broader roles as public figures advocating for causes they care about. This emotional arc is brought to life brilliantly by James Graham’s script, which finds a delicate balance between making the story accessible for football novices and engaging for die-hard fans.
A particular highlight of the production is the lighting design by Jon Clark, which effectively amplifies the atmosphere, giving each scene its own distinctive energy. Clark’s lighting, which was nominated for an Olivier Award, is integral in allowing the audience to easily follow the play’s shifting timelines and locations. It complements the fluidity of the action, including during the football scenes, where the actors, rather than using real balls, perform choreographed movements under the movement direction of Ellen Kane and Hannes Langolf. This abstract approach to the football sequences is very effective, conveying the sport’s energy and intensity without relying on the usual visual cues.
Music plays a key role in this production as well, underscoring pivotal moments and building emotion. The play ends with the crowd-pleasing anthem “Sweet Caroline”, and it’s hard not to be swept up in the joy and collective nostalgia that fills the theatre as the audience sings along.
The performances in Dear England are fantastic. Gwilym Lee delivers a standout portrayal of Gareth Southgate, embodying both his vulnerability and his quiet strength. Lee’s Southgate is an inspiring figure, showing the power of leadership that is rooted in empathy and emotional intelligence. A standout comedic performance was Gunnar Cauthery’s portrayal of Gary Lineker who provides much-needed levity.
It’s clear that Dear England isn’t just a play for football fans. Its themes of vulnerability, resilience, and the power of shifting cultural norms transcend the sport itself. James Graham’s ability to craft a narrative that appeals to such a wide audience is one of the play’s greatest strengths. Dear England continues to bridge the gap between two worlds, football and theatre, and does so in a way that feels universally relevant. It’s a timely reflection on how individuals and institutions can evolve. A fitting tribute to the legacy of Southgate’s influence on the England team, and a fitting end to Rufus Norris’ tenure at the National Theatre.
Dear England runs at National Theatre Olivier until 24th May 2025.
Photos by Marc Brenner