Dear England - National Theatre: A Perfect Production That Captures the Heart of a Nation
Image by Marc Brenner
⭑ ⭑ ⭑ ⭑ ⭑ - 100% • 4 minutes 27 second read time
The National Theatre’s updated version of Dear England is a triumph. James Graham has created something special - a piece of theatre that transcends sport, delving into the essence of English identity, leadership, and the radical power of kindness. This is a play that understands football not just as a game, but as a reflection of who we are. And in telling the story of Gareth Southgate’s quiet revolution, it delivers a moving, uplifting, and thought-provoking experience.
At its core, Dear England is about change - not the flashy, overnight transformation that makes headlines, but the slow, deliberate, and deeply human process of shifting a culture. The England men’s team had spent decades trapped in a cycle of failure, weighed down by history, expectation, and the uniquely English fear of hope, combined with an attitude of entitlement - a belief that winning should come simply by virtue of who they were, even though the stats told a different story. Enter Southgate, played with remarkable precision and warmth by Gwilym Lee, who dared to challenge the status quo. His radical act? Treating players as people first, footballers second. With the guidance of psychologist Dr Pippa Grange, he helped them navigate the immense pressure of international football, not by teaching them how to win, but by teaching them how to live with the fact that success is never guaranteed - and that’s okay.
It’s a philosophy that extends far beyond the pitch. Life, like football, is unpredictable. No matter how much you prepare, no matter how much you deserve a different outcome, sometimes things don’t go your way. But if you have the right people around you, if you are part of something bigger than yourself, you will be okay. That’s the heart of Dear England, and it’s what makes it such an extraordinary piece of theatre.
The staging is simple but effective. A round stage, a white arch subtly invoking the grandeur and history of Wembley, nine wooden boxes that replicate changing room cubbies, and a multi-ring revolving stage that keeps everything fluid and dynamic. It’s minimalist, but never dull - a perfect example of how less can be more when the human story is allowed to take centre stage. The movement, directed with a keen eye for rhythm and emotion, mirrors the ebb and flow of a football match, making even the quietest moments feel charged with energy.
Of course, none of this would work without the performances. Gwilym Lee had the unenviable task of stepping into the role of Gareth Southgate after Joseph Fiennes’ much-praised portrayal, but he does so with such skill and authenticity that any doubts vanish within moments. He captures Southgate’s energy, his slightly awkward but endearing presence, and most importantly, his quiet but unwavering belief in his team.
Josh Barrow, returning to the role of Jordan Pickford, is a standout. His transformation is so complete that at times it feels like the real Pickford has wandered onto the stage. Every movement, every mannerism, every slight inflection of his voice is spot on, making for a performance that is both hilarious and deeply human. And then there’s Ryan Whittle as Harry Kane, who has the audience in stitches throughout. His comic timing is impeccable, but what makes his performance even more impressive is the depth he brings to it - this is not a caricature, but a fully realised person.
Beyond the football, Dear England is a love letter to the best of England, while never shying away from its painful contradictions. It celebrates the joy of a nation united in song, shouting the fan added “So goods” of Sweet Caroline, the deep, unbreakable connection between team and fans. But it also confronts the uglier truths - the way Englishness is still, for too many, synonymous with whiteness, the impossible pressures placed on men to be invulnerable, the way women’s achievements are so often diminished or dismissed.
One of the most noteworthy and timely things the play highlights is not just who men can be when they have positive male role models, but who they can become when they allow women to be a part of their growth. Southgate’s leadership is not just about challenging outdated notions of masculinity, but about recognising the strength that comes from listening to different perspectives. Dr Pippa Grange’s influence on the squad is treated with the respect it deserves - her insights are not secondary, not an optional extra, but integral to the team’s transformation. In a sport where women’s voices have often been overlooked, Dear England makes a clear and vital point: progress comes when men value and respect the input of women, not as an act of charity, but because it makes them - and the world around them - better.
This is James Graham at his best. His writing is sharp, funny, and full of heart. He has an unmatched ability to take complex, weighty subjects and make them accessible without ever oversimplifying. His dialogue crackles with wit, his characters feel utterly real, and his ability to weave big, national questions into deeply personal moments is masterful.
What makes Dear England so powerful is that it is not just about football. It is about all the things that football represents - community, identity, hope, disappointment, resilience. Sport and theatre are, in many ways, two sides of the same coin. Both tell stories. Both bring people together in shared moments of elation and despair. Both tap into something primal and deeply human. And this production manages to capture the best of both worlds, creating an experience that is as thrilling as a last-minute goal and as moving as a heartfelt speech under the spotlight.
It is a play that sits with you, lingering long after the final whistle. One that makes you think, makes you feel, and - perhaps most importantly - makes you believe. Whether you love football or couldn’t care less about it, this is theatre at its most powerful. A production that deserves every bit of praise it has received and then some.
Dear England plays at the National Theatre until May 24th. After this it will transfer to the Lowry for a month from May 29th. A tour is also expected from Autumn 2025, though further information is not yet announced. Tickets here.