Dear England

Dear England Returns—But Does It Score?

When Dear England first took to the stage, it struck a chord with audiences, blending sport, politics, and personal transformation into a compelling theatrical experience. Now, with its much-anticipated return, the big question is: does it still deliver that emotional punch, or has it lost some of its magic?

In this revival, Gwilym Lee steps into the role of Gareth Southgate, following in the footsteps of Joseph Fiennes, whose performance left a lasting impression. Lee certainly has a challenge ahead, and while he largely succeeds, his portrayal isn’t without its inconsistencies. He nails Southgate’s physicality—the upright stance, the thoughtful pauses, the trademark waistcoat giving him that instantly recognizable presence. However, his vocal delivery fluctuates, especially in the first act. At times, he captures Southgate’s measured, almost hesitant tone, but then he slips into something less precise, which can be a little jarring. As the play progresses, though, he settles into the role with more confidence, making for a generally compelling performance.

Liz White takes on the role of Pippa Grange, the sports psychologist who played a crucial role in transforming the England team’s mindset. White does a commendable job, but there’s something slightly missing in her characterization. Grange’s real-life presence is one of warmth, insight, and quiet authority, but in this production, she feels somewhat underdeveloped. The chemistry between her and Lee’s Southgate isn’t quite as electric as it could be, and there are moments where she feels more like an exposition device than a fully fleshed-out character. That said, she delivers some standout moments, particularly in the later scenes where her influence on the team becomes more apparent.

The supporting cast as a whole delivers strong performances. It’s a joy to see some familiar faces returning to the stage, adding a sense of continuity and familiarity for those who saw the original production. The camaraderie among the ensemble is evident, and they effectively bring the dynamic world of English football to life. Each player has their moment to shine, from the more comedic interactions to the deeply emotional beats that highlight the struggles and triumphs of the team.

One of the most impressive aspects of Dear England has always been its staging, and Es Devlin’s set remains a stunning piece of design. Devlin is known for creating immersive environments that do more than just serve as a backdrop—they become an integral part of the storytelling. Here, she transforms the stage into a space that feels both grand and intimate, capturing the weight of expectation that comes with leading England’s national team.

Jon Clark’s lighting design is another standout element, adding depth and emotion to key moments. The way the lighting shifts to reflect the tension of penalty shootouts or the euphoria of victory is masterfully done. It’s subtle but powerful, reinforcing the emotional highs and lows of the narrative.

And then there’s Ash J Woodward’s video design, which elevates the production even further. The back wall and the inside of the circular stage create perfect canvases for his work, allowing for dynamic, immersive visuals that transport the audience straight into the heart of the action. Whether it’s recreating the electric atmosphere of Wembley or giving us a glimpse into the psychological battles taking place off the pitch, the projections add a cinematic quality that makes the play feel even more visceral.

At the core of Dear England is James Graham’s script, which remains sharp, insightful, and deeply engaging. However, this new iteration introduces some changes, not all of which serve the story as effectively as they could.

The first act is largely unchanged, and for good reason—it’s compelling, well-paced, and does a great job of setting up Southgate’s journey from a man haunted by his own penalty miss in 1996 to a leader determined to change the culture of English football. But the second act? That’s where things start to feel a little uneven.

While much of Act 2 remains the same, the restructuring of certain scenes feels slightly off. The ‘phone’ section, in particular, introduces an addition that doesn’t quite blend seamlessly with the rest of the play. Instead of enhancing the narrative, it feels tacked on—an attempt to inject something new without fully considering its place in the overall structure.

There are, of course, some great new scenes sprinkled throughout, moments that add depth and humor. But the way the actual ‘playing’ aspect of the show is handled in this version feels rushed. Football, after all, is at the heart of the story, yet the pacing of these sections doesn’t quite match the weight and significance they should have. The energy that builds throughout the play deserves a climax that fully delivers on the stakes that have been set up. Instead, the playing sequences wrap up almost too quickly, missing an opportunity to truly immerse the audience in the tension and exhilaration of the game.

Then there’s the final moment. In the original version, the ending carried emotional weight, resonating as a fitting conclusion to Southgate’s journey. Here, bringing Pippa back onstage to share a look with Southgate feels unnecessary. The moment lacks clear significance and instead comes across as an afterthought. Ending with the team’s final dance after announcing Southgate’s resignation would have been far more effective, leaving the audience with a sense of celebration and reflection rather than a slightly awkward extra beat that doesn’t quite land.

Despite its occasional missteps, Dear England remains a powerful and engaging theatrical experience. At its heart, it’s a love letter to English football—not just the sport itself, but everything it represents: hope, disappointment, resilience, and the ever-present weight of expectation. It’s about overcoming personal and collective demons, something that resonates far beyond the pitch. Ultimately, Dear England may not hit the back of the net with quite the same precision as its previous run, but it still delivers a highly enjoyable and thought-provoking night at the theatre. Whether you’re a lifelong football fan or just someone who appreciates a well-told story, this play is well worth seeing.

Would I recommend it? Absolutely. Just don’t be surprised if you walk away feeling like a little something was missing—because while this production comes close to scoring the perfect goal, it still leaves us waiting for that final, decisive strike.