Dear England at New Theatre Oxford

The action begins in 2016. The Brexit vote has precipitated a national identity crisis, and England’s football manager has, rather farcically, resigned after one game. His replacement, Gareth Southgate, offers a thoughtful but quietly revolutionary alternative to the abrasive, macho persona of his predecessor. To general bemusement, Southgate appoints a team psychologist, a woman, Pippa Grange, (Samantha Womack, below) who tries to cajole the players into opening up about their hopes and fears (“f*ckin’ feelings” as one of them exclaims). After initial resistance, the team responds and grows. Now they are ready to confront England’s inherited curse – failure in the Penalty Shoot-Out, also known as Sudden Death. 

David Sturzaker excels as Southgate, using soft, thoughtful tones to handle the media, before stirring the team with heartfelt patriotism. Samantha Womack also impresses as the psychologist Pippa Grange, a quiet presence surrounded by testosterone. The players can be identified as individuals (the Geordie, the black boy from London, the plucky lad from Wythenshaw) but they also merge into a unit, portrayed by the Ensemble. 

   Can you enjoy “Dear England” if you don’t follow football? Undoubtedly yes. The play takes in the more farcical and joyful events of the period. There is much visual comedy: Theresa May clanks her way onstage, Boris Johnson blusters beneath a mop of blond hair, while Gary Lineker, hard to recognise at first, pulls out a packet of Walkers’ Crisps. During the football scenes, goalkeeper Jordan Pickford punches and expostulates as he psyches himself up for the game, and Chloe Kelly celebrates scoring in the Women’s Euros by joyously ripping her top off. 

The set (designed by Es Devlin) is simple - a circle of changing-room lockers, each bearing the name of a player. These are constantly on the move, The cast of England internationals sprint, stretch, jog and do press-ups, an effect which seems much more realistic than artistically choreographed routines. And in the centre at all times, as a gleaming point of light, is the fateful penalty-spot. A word of praise also for the attention to detail shown in the historical England football kits which form part of the décor. (Costume designer Evie Gurney.)

At times, especially after the Interval, “Dear England” turns sombre. We feel the sense of inertia during Covid, followed by the dreadful online persecution of black players after the Euros defeat of 2021. But the trajectory after this is upward, and by the end “Dear England” strikes a triumphant (well, moderately triumphant) note. Gareth’s achievement, along with Pippa, is to persuade individuals, haunted by the fear of failure, to become more mindful, and to focus. He reminds them that they are part of something greater, a tradition, a sense of belonging and connection. In the chaotic whirl of media attention, Southgate has created a place of calmness, sanity and pride.