★★★★★
Written by Jay Darcy and Katie Bray
Dear England, a play about how England football manager Gareth Southgate changed and challenged the team, and the sport more broadly, is having its regional premiere at the Lowry in Salford, following two runs at the National Theatre and a West End stint, and ahead of a UK tour. Writer James Graham has updated the ending for the 2025 production, with the previous production having been filmed for National Theatre Live and shown in cinemas. A four-part television series is in the works.
Jay Darcy
Katie and I watched a filmed performance of Dear England at the cinema across the road from the Lowry last year. I don’t particularly like watching filmed theatre, and I’m not that into football, but I had hours to kill in between two events at the Lowry, so I semi-reluctantly went along with a few friends who wanted to see it. It was yet another example of me being proven wrong, for I absolutely loved it. But as much as I loved it, there’s nothing quite like seeing it live. It’s a long play (almost three hours), and I got a bit restless in the cinema, but the live production flew by.
Whilst football has its problems (from hooliganism to misogyny and racism), it also has its positives, especially insofar as its accessibility. Football clubs are often affordable, which is why so many working-class kids (including Black and brown kids) go to them – which is why so many professional footballers come from working-class backgrounds. It’s incredibly competitive but mostly meritocratic. Some kids do not excel academically but shine artistically or through sports, so footballers are a source of inspiration for a lot of kids.
Football also represents the national psyche. Nothing brings the country together more than international football games. We all remember being devastated when we lost the Euros to Italy in penalties. In such divided times, in post-Brexit Britain, that’s the one thing we all wanted.
This is why Dear England is so effective. Football fans will appreciate it for obvious reasons – and it’s accessible for people who do not really go to the theatre – especially the comedic and satirical elements (and the characterisation of iconic football figures is absolutely on point).
Theatregoers will appreciate it as a theatrical masterpiece, and a masterclass in blending sports and theatre, from James Graham’s gripping script, which manages to explore countless themes and issues without feeling overstuffed, to the production itself, which has been designed with sheer love, intelligence and elegance.
Es Devlin’s staging is slick and sexy; it’s very Es Devlin! A cyclical, clinical, minimalistic, white set situated in a black abyss, like a memory come to life. We are transported to the world of football.
Like many modern productions, Dear England has video design (Ash J Woodward), but here it is not used in place of set but rather to enhance it. Iconic moments and memories are shown behind the cast, like more distant memories brought to life.
Jon Clark’s lighting is bright and can be harsh, representing the pressures of the sport (and being in the spotlight – literally). Evie Gurney’s costumes are mostly realistic and appropriate with some notable exceptions in satirical moments (e.g. Tory Prime Ministers and football managers), which highlights the ridiculousness of political theatre and sports drama.
Rupert Goold makes great use of the open space with his direction. It never feels sparse (except when he wants it to), and even when the stage is filled with the large cast, it never feels overstuffed (except when he wants it to!).
The movement and choreography are electric, especially early on, when Gareth Southgate is announced as the new England manager, and members of the public (from a lollipop man to a Priest who “will never forgive him” and even then-Prime Minister Theresa May) react to the news as they cross each other on the revolve. This could have very easily looked messy, or it could have been difficult for the audience to find focus, but Goold makes it slick.
It really is remarkable how a production with so much in it – and so many design elements, from the crème de la crème of British theatre creatives – is so accessible. Whether you’re a footie fan or a stage junkie, this production is for you. This production is for everyone.
I’m more into musicals and can be picky with plays but this show’s production design is as good as you will find in any top musical. Not just the physical elements but also the music itself. Football songs – official and unofficial, old and new – are used effectively and stylishly; it’s excellent music supervision.
The show fittingly closes with the entire cast (and audience) singing along to ‘Sweet Caroline’. It’s so good, so good, so good.
Katie Bray
One could be forgiven for presuming it’s only for football fans, but in fact, Dear England is a surprisingly broad play dealing with the systemic and cultural issues around the sport. It’s a piece anyone can appreciate and is shockingly evocative in the way it tackles themes, racism, nationhood and shared trauma with an incredible amount of nuance. It’s a long piece at 2 hours 50 minutes, but its runtime allows for thought-provoking discussions without feeling over-bloated or tedious. Writer James Graham treats each of these themes with the utmost care and respect, especially in relation to the heartbreaking protective bond between Southgate and his players.
Indeed, the players’ mental health is particularly at the core of the production, exploring the crippling pressure of penalty scoring, something that haunted Southgate after his 1996 miss that caused riots across the country. These penalty moments are translated into nail-biting onstage sequences that feel as intimidating as the real thing (despite the absent football).
Gwilym Lee flourishes as Southgate, taking on the mantle of the underdog manager with emotional vulnerability is as he revisits past traumas. Meanwhile, his chemistry and friendship with the players feels breathtakingly authentic.
Liz White’s portrayal of psychologist Pippa Grange brims with empathy as she becomes the safe haven for the lions, her palpable maternal instinct and passion for mental wellbeing played with sublime poise.
Football bosses and opposing managers constantly jab at Southgate’s “woke” mind-over-matter approach to football, and yet his insight on the pressures of the sport and changing the culture of football brought the player’s and nation together despite tournament losses.
In a sense, the show orbits around this constant circle of loss, repeated mistakes, and generational trauma. Even Es Devlin’s stage design evokes cyclicality with its ring of light, curved screen backdrop and circular revolving stage. While simplistic, a mixture of video projections by Ash J. Woodward and white spotlights from Jon Clark bring the football stadium to life in a limited space. The revolve is particularly gripping as players perform slow-motion celebrations, or are left wandering in circles around the locker room doors.
The second act draws on the racism ingrained in the sport, from the monkey chanting incidents to the history of colonialism and empire baked into the English flag and lion symbols. The performances from Rashford (Jude Charmichael), Sancho (Kadell Herida) and Saka (Tane Siah) after their missed penalties were utterly heartbreaking – the sheer devastation as each player missed was palpable, yet empowering as they stood united against the racist rhetoric.
Sexism is also drawn on momentarily – a nice way of pointing out other systemic issues in the sport – but the theme is fairly inconsequential in a story focusing on men’s football.
However, it’s not all doom and gloom. Despite heavy-hitting topics, the show is surprisingly light-hearted, managing to stay amusing without undercutting poignant moments. In fact, it seems to have become even funnier since its cinema release!
Dialect Coach Richard Ryder and voice coaches Cathleen McCarron and Shereen Ibrahim enabled the cast to perfectly capture each character’s unique accent. Ryan Whittle in particular captured the very essence of Harry Kane’s quiet and slow demeanour with comedic effect, yet still poured his heart out after the final tournament. Josh Barrow as Jordan Pickford was another hilarious performer, bursting with energy and mischief.
One standout multirole actor was John Hodgkinson with his blunt, judgemental, farcical, and often expletive lines as Greg Clarke, Gianni Infantino, Matt Le Tissier, and the vicar.
Other comedy came from outrageously accurate Tory skits, a montage of past managers (goofy outfits and heavy accents to boot), and farcically noticeable bald caps. The costuming by Evie Gurney here felt perfectly suited to the show’s unique tone, on one hand creating realistic football attire, on the other, having the most ludicrous wigs imaginable.
Dear England’s poignant topics, fascinating creativity and goal-den comedy routines are unmissable. The cast deliver awe-inspiring performances, perfectly blending satire with fascinating insights and raw emotion. Whether you’re a regular football fan or a sports newbie, make it your goal to see Dear England before it’s too late.
Dear England runs at Lowry (Lyric Theatre) until June 29 and tours the UK from September 15 2025 until March 14 2026.
Photo: (c) Marc Brenner
JADAR 