Review by Sam Waite
⭐️⭐️⭐️⭐️⭐️
Dear England, James Graham’s Olivier-winning play, occupies an interesting position in the theatrical zeitgeist. A period piece of sorts, about an era barely passed, the show's 2023 premiere left its ending open to changes of perception – after all, the career around which Graham centred his themes was still ongoing. Perhaps it's a fitting tribute to Graham’s ability to evolve his work, and to Gareth Southgate's career as England football manager, that a revamped Dear England has come home to the Olivier Theatre.
Southgate, infamously remembered for a flubbed penalty in ’96 but eventually responsible for the England team’s strongest run in decades, is introduced as he accepts an interim manager position. Interim managers, he notes, have never gone on to hold the position full-time – the first of many changes his appointment will usher in. Enlisting psychologist Pippa Grange, and shifting the team's focus to togetherness and emotional wellbeing, Gareth’s methods prove – as they did in real life – controversial, but ultimately build a more successful, more connected England.
The immediate concern around a remounting of Dear England, particularly so soon after its award-winning success, is the absence of leading man Joseph Fiennes, who proved almost uncanny in his transformation. Not nearly as chameleonic but by no means less skilled, Gwilym Lee is fantastic in the role of Gareth, bringing his own depth and gravitas to the character. While much of the characterisation is predetermined by the real person, Lee manages to do more than simply imitate either Southgate or Fiennes. His chemistry with the team is all his own, and this ability to build genuine relationships onstage is key to the play’s success.
Indeed, the cast excel all around, with only four members returning from the previous production. This blend of new and returning performers is totally seamless, a united front in which no one is trying to pull focus or outshine their teammates. Ryan Whittle is particularly strong in the role of Harry Kane, named as captain under Southgate's regime, bringing to the part the same blend of simple-mindedness and camaraderie than nabbed his predecessor an Olivier. Likewise, Liz White brings a great deal of heart to Pippa, the psychologist enlisted to make a band of brothers out of the squad. Taking on leadership positions within the team and within the cast, White, Whittle and Lee prove to be the beating heart of this revival.
Graham has, of course, had to rework his existing text – the original ending, open to the possibilities of what the Euro 2024 tournament would bring, simply wouldn't work with the results having already played out. Wowing audiences again with Punch’s successful run at the Young Vic, James Graham’s sterling reputation precedes him, and his script for Dear England is another jewel in his crown. The same blend of heartfelt sentiment, laugh out loud humour, and genuinely gripping storytelling continue in this altered ending, the events of which you may already know, but the soul of which still shines through.
Unchanged is the simple but awe-inspiring set design, courtesy of Es Devlin. The atmosphere, the balance of openness and entrapment, the endless possibilities of a stadium are brought to life simply through a ring of light which lifts from the stage when the play commences. The rest of the locations – conference rooms, press junkets, the changing rooms, are all brought to life by moveable doorways taking the form of lockers, entrances, benches. All expertly and smoothly manoeuvred through Ellen Kane and Hannes Langolf’s movement direction, these and a collection of chairs are all Dear England needs to present its world. The lighting design from Jon Clark is no less remarkable, and alongside glorious video work from Ash J Woodward and affecting sound courtesy of Dan Balfour and Tom Gibbons, the effect is nothing short of magnificent.
Revival director Elin Schofield’s work is exactly as that title would suggest – light, unobtrusive, keeping everything afloat and moving precisely as it should without rubbing up against Rupert Goold’s vision. Where this could be construed as simply not having much to do, I would argue the delicacy of steering another director’s work without sacrificing your own thoughts or the original's creation is to be commended. Goold was instrumental in creating something spectacular, and Schofield is no less indispensable in helping to continue that legacy.
It may be an understatement to call Dear England a roaring success. Having been a bit with audiences in its previous Olivier run and its time on the West End, the show is already set for a UK tour to begin in September, and a BBC adaptation with Fiennes returning to the role of Gareth Southgate. This current iteration, itself set for a run at The Lowry in Salford beginning in May, helps reinforce what crowds found so endearing, and how much power this work will continue to have.
Dear England plays at the National Theatre/Olivier Theatre until May 24th, before opening at The Lowry in May 29th
For tickets at the National Theatre visit https://www.nationaltheatre.org.uk/productions/dear-england/
For tickets at The Lowry visit https://thelowry.com/whats-on/200//dear-england
For tickets to the UK tour (cast to be announced) visit https://www.nationaltheatre.org.uk/whats-on/dear-england-national-tour/#tour-dates
Photos by Marc Brenner