Dear England | Liverpool Empire

Dear England premiered at the National Theatre in 2023 to widespread critical acclaim, quickly becoming one of the most talked-about new plays of the year. Its success led to a West End transfer, followed by a return run at the National Theatre, and it is now touring across the UK. In 2024, the production cemented its impact by winning two Olivier Awards, including Best New Play. The play, written by James Graham and directed by Rupert Goold, is currently at the Liverpool Empire Theatre, right in the heart of this football-loving city.

Dear England tells the story of the men’s English football team at a pivotal moment in their history. With Gareth Southgate (David Sturzaker) appointed as interim manager, the play follows his bold efforts to transform England’s fortunes on the world stage. Recognising the immense pressure the team faces, Southgate brings in psychologist Pippa Grange (Samantha Womack) to help the players manage expectation, scrutiny and the weight of national hopes, both on and off the pitch.

While football has been the subject of many plays, Graham has a unique talent for digging deeper than the surface theme. For many, football is part of everyday life, and while this play will certainly appeal to fans, its reach goes far beyond the sport. Dear England focuses on the individuals within the squad, rather than simply replaying match results. The play resonates because we already know these figures, and Graham thoughtfully tackles themes like racism and mental health, issues that feel more urgent than ever. He brings Gareth Southgate vividly to life on stage while surrounding him with a cast and community that feels heartfelt and above all, incredibly entertaining.

ES Devlin’s set design is nothing short of striking, using a vast screen that towers over the slanted stage and pulls the audience straight into the world of the piece. I’m not usually a fan of heavy screen use in theatre, but here it feels purposeful and carefully judged. The video design (Ash J Woodward) is clean and restrained, used only when it enhances the storytelling rather than overwhelming it. The inclusion of archive footage is particularly powerful, grounding the drama in real history and adding an extra emotional touch. 

Jon Clark’s lighting plays a pivotal role throughout, shifting the mood in an instant, from the electric glare of stadium lights to more intimate, reflective moments within the dressing room. The sound design (Dan Balfour and Tom Gibbons) fully immerses the audience, layering in the roar of the crowd, snatches of match commentary, and a musical backdrop that keeps the pulse racing. Together, these creative elements blend seamlessly, creating an atmosphere so vivid and cohesive that the audience feels not just like spectators, but part of the action itself.

Leading the charge on the UK tour is Sturzaker, who absolutely nails the characterisation of Gareth Southgate. From the very first moment, reliving that agonising missed penalty at Euro ’96 against Germany, to his steady evolution into England’s permanent manager, the performance is near pitch-perfect. Sturzaker captures not just the voice, but the physicality too. The measured posture and the quiet restraint, the thoughtful presence that has become so synonymous with Southgate himself. At times, it genuinely feels less like watching an actor and more like witnessing the real man under the stadium lights. It’s a performance charting both the vulnerability and steady resolve that define his journey.

Womack delivers a performance that firmly anchors the entire piece. She plays a pivotal role in the squad’s transformation, and you can feel that shift begin whenever she steps into a scene. Her character is measured and assured, but it’s in her exchanges with Southgate that the drama truly sparks. Their conversations crackle with insight and vulnerability, offering some of the production’s most compelling moments. Through her, the play explores its richest themes: resilience, identity, pressure, and the weight of expectation, and it’s her influence that signals a profound change in culture and mindset within the team. Rather than grand gestures, it’s the subtle shifts she inspires that feel most powerful, making her performance both understated and deeply affecting.

It simply wouldn’t be Dear England without the players themselves, and the full ensemble does a terrific job of bringing the national squad to life. There’s a real sense of camaraderie on stage, that mix of banter and bravado as well as vulnerability that defines a dressing room. Each character feels recognisable and grounded, even if a few lean playfully into caricature. Jordan Pickford’s (Jake Ashton-Nelson) boundless energy fizzes through every scene he’s in, capturing his passion and unpredictability, while Harry Kane (Oscar Gough) is portrayed with a quiet determination and hilarious personality traits. Together, the cast recreates not just the matches, but the spirit of the squad, the personalities behind the shirts, making their triumphs and heartbreaks feel genuinely shared.

Even though most of us walk in knowing exactly how each tournament ends, the production somehow keeps the tension alive right up to the final moments. There’s a real sense of suspense even when history has already written the scoreline. The scenes are given space to unfold, allowing the story to grow naturally rather than feeling squeezed into a highlight reel. Nothing is rushed. Instead, the emotional stakes build steadily, drawing you in until you’re completely invested.

It’s almost impossible not to get swept up in it all, the hope and heartbreak, the sheer theatricality of the beautiful game. Whether you’re after a compelling night at the theatre or craving the electric atmosphere of match day, Dear England delivers both in equal measure. It’s little wonder the piece is being adapted for a BBC drama. Its storytelling feels destined for an even wider audience.

Dear England plays at the Liverpool Empire until 07th March 2026 - tickets and more information can be found here.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Marc Brenner