The worlds of championship football and dramatic theatre may not seem immediately obvious companions, but, as ‘Dear England’ proves, they actually have a lot in common. The pressures of public performance, the impact of critical scrutiny and toxic opinions, and the shared excitement of a passionate audience are all felt in both arenas, and this award-winning plan brings the two cultures together in a powerfully engaging play that grabbed writer James Graham an Olivier award back in 2023 for the National Theatre production. Now touring the UK and playing at Milton Keynes Theatre this week, the play delivers an evening of theatre that is rousing, thoughtful and surprisingly moving, even for those who may not know one end of a pitch from the other.
Dear England follows a crucial chapter in the story of the England men’s football team, beginning with the initially-temporary appointment of Gareth Southgate (played by David Sturzaker) as manager in 2016, and his attempt to transform the culture surrounding the squad. Burdened by years of disappointment and relentless scrutiny, Southgate enlists the help of psychologist Dr Pippa Grange (Samantha Womack), and the team is encouraged to rethink ideas of leadership, pressure and national expectation. The play moves between training sessions, media encounters and behind-the-scenes discussions, revealing how off-pitch attitudes shape performance on it. Rather than focusing on match results, the narrative explores the slow rebuilding of confidence and trust through team-rebuilding, and the challenge of reshaping England’s identity under the glare of public opinion.
Through using sport as a lens through which to explore identity, leadership and national anxiety, ‘Dear England’ transcends being merely a play about football, and becomes a hugely human study of people, community and our country. The story feels immediate and relevant, not shying away from heavier topics; internalised shame, racism, mental health and xenophobia are all explored, along with the sense of pressure and expectation placed on young athletes, and these themes land with clarity and emotional weight. Graham’s excellent writing is a sharp as always, creating a layered character study of Southgate while also fleshing out the team around him, and balancing it all insightfully with pathos and wit.
Rupert Goold’s direction builds on Graham’s incisive voice and balances spectacle with intimacy. The staging is slick and inventive, with Es Devlin’s fantastic set design comprising large video screens and dynamic lighting which give the production a cinematic feel, immersing the audience in the media frenzy that surrounds the national team. The sound design (by Dan Balfour and Tom Gibbons) also deserves particular praise, weaving together stadium noise, commentary and music to create a constantly shifting atmosphere. The roar of the crowd can be exhilarating one moment and oppressive the next, mirroring the emotional rollercoaster experienced by the team. This auditory landscape, combined with the bold visual design, keeps the pace brisk and play intensely engaging throughout.
The portrayal of England manager Gareth Southgate is central to the play’s success, and David Sturzaker handles this with impressive subtlety. Rather than presenting him as a simple heroic figure, Sturzaker’s compelling performance captures his doubts, his careful diplomacy and his determination to change not just how the team plays, but how it thinks, and attempting to redefine leadership under immense pressure. It’s no easy task but Sturzaker delivers, his thoughtful approach anchoring the play and ensuring that Southgate’s journey feels earned, and his impact on the players and the wider culture resonates far beyond the final whistle. Samantha Womack is also on fine form as Dr Pippa Grange, maintaining a strong female voice in a male-dominated landscape with a steely reservedness. It’s a shame the character is sidelined in the second act and Womack given little to do, as her presence is missed. Around Sturzaker and Womack, the ensemble excels, with the actors portraying key England players and offering sharply defined, individual performances that avoid caricature and instead reveal vulnerability, humour and resilience. Particularly impressive is the sense of collective chemistry, and the sense that this group of actors genuinely feel like a team with the nation willing them to succeed.
Despite its focus on football, ‘Dear England’ is ultimately a story about people and the stories we tell ourselves as a nation. It is accessible without being simplistic, and whether you arrive as a devoted football supporter or someone with zero interest in the game, ‘Dear England’ is absolutely worth your time. With sharp writing and fully committed performances, this is an evening at the theatre that more than earns its place on the team.
‘Dear England’ runs at Milton Keynes Theatre until Saturday 24th January 2026, before continuing on its UK tour until March.
Production photos: Marc Brenner
Details at:
https://www.atgtickets.com/venues/milton-keynes-theatre
Performance runtime 2 hours 45 minutes including interval
