“The return of a National treasure, Dear England’s football phenomenon is theatric perfection.”
manoeuvresThis is a show about England with a capital E. It is about a nation’s psyche and its relationship to the beautiful game. James Graham’s Dear England follows football manager Gareth Southgate (played by Gwilym Lee) as he maneuvres the national team through several international tournaments leading up to the Qatar 2022 World Cup. He examines his personal demons and what it means to ‘fear less’, a term coined by psychologist Dr Pippa Grange (played by Liz White) whose guidance he seeks. Starting its return stint at the National Theatre, it then heads to The Lowry Theatre, Salford before embarking on a national tour.
Rupert Goold’s directorial ambition is perhaps matched only by the National Theatre’s ability to deliver powerfully relevant stories. It finds humour in pastiche and pathos in impersonation. The play enables audiences to connect to larger than life football players on an equal level as people searching for a personal and national identity.
Es Devlin’s simplistic set is superb, with two massive white LED halos sandwiching the performers on a black triple turntable. It feels like you’ve been beamed into a cyberpunk FIFA videogame. The sheer size of the set feels like it envelops you, as though you too are on the pitch with the players. The use of red, white and blue colours for the majority of costuming is a neat touch, adding further integration to the theme. Sound design too, is thoughtful. Co-designers Dan Balfour and Tom Gibbons blend euphoric 90s and 00s football mania songs alongside tense lo-fi beats and pensive classical music motifs seamlessly throughout.
Where this play shines is not only in its execution of bombastic kinetic energy but also in its smaller moments; melancholic contemplations between Southgate and Dr Grange; a cheeky Geordie retort by unhinged Jordan Pickford (played by Josh Barrow), a silly one liner by Fabio Capello (played by Martin Marquez) set to some subtle Godfather music. It’s a real ride that carries the surges of emotion deftly and compassionately. I laughed, I cried, I laughed some more. It just works. Gwilym Lee makes sure to cement his own legacy, comfortably filling the shoes of his predecessor Joseph Fiennes. He tackles the subtle mannerisms, dialect and optimism with ease. Liz White’s portrayal of Pippa Grange feels very natural, with a positive energy that emanates reassurance and friendliness. Both characters feel like they’d be great pub mates.
There is a concern that if like me you’re not a footy fan you won’t understand the references, in jokes, or historical intricacies. It is genuinely not the case. What this show does so well is make you see beyond a caricature (and there are many). It makes you invest in the players as people with their own stories on their own terms. Between the abundant laughs and the emotional juggernaut of an ending (spoiler alert: I hope you like singing to Sweet Caroline), it was safe to say the audience connected to the performers.
If I were to nitpick, perhaps it could focus on fewer emotionally charged topics. It covers everything from racism, misogyny, socioeconomic struggles and political activism in short bursts and it could allow the nuance to breathe a bit. I understand the ending has been re-written to account for more recent events, but it too felt a touch rushed.
Ultimately, Dear England is a performance that becomes more than the sum of its parts; an identity and a community laid out bare. It is a story that resonates far beyond the final whistle.