Alex Hill (Why I Stuck a Flare Up My Ar*e for England)

Ahead of its final UK performance at the Garrick Theatre this June, Why I Stuck a Flare Up My Ar*e for England has received incredible critical acclaim; a play that initially emerged from the Fringe circuit. Written and performed by Alex Hill, the award-winning one-man show takes inspiration from the infamous viral moment during the Euros final in 2021 when an England fan stuck a flare up their bum; however the show digs deeper to explore football fandom, toxic masculinity and the search for belonging.

Following sell-out runs in Edinburgh, London and Australia — and ahead of an Off-Broadway transfer to New York — the production has earned praise for combining sharp humour with an unflinching look at the darker side of football culture. We sat down with Alex to discuss the show’s journey from pub theatre to the West End, the reaction from audiences, and why its themes resonate far beyond the terraces.

Q) Hello Alex - thank you for taking the time to answer some questions. Before we begin, please could you introduce yourself and tell us a little bit about Why I Stuck A Flare Up My Ar*e For England?

Thanks for having me! My name’s Alex Hill and I’m the actor, writer and co-producer of Why I Stuck a Flare Up My Arse for England, a one-man play based on the viral image of an England fan putting a flare up his bum before the final of Euro 2020 back in 2021, .  

Q) The story is based on an England fan who went viral for putting a lit flare up his bum before the European Football Champions Final in 2021 - what made you realise that this story could become a stage show?

Seeing the image gave me a hundred different ideas for the kind of character that would do something like that. Before it became a full 70 minute show, I was interested in writing a small, almost justification piece as to why someone would put a flare up their bum. I created a character called Billy Kinley and what started as a 10 minute monologue, then got fleshed out to something a bit bigger. Being a football fan myself and travelling to hundreds of games home and away, I have seen lots of Billys and truthfully, there’s quite a bit of me in him. 

Q) Whilst initially appearing as a comedic show on the surface level, the show also tackles serious themes. Was the play always intended to explore these themes of toxic masculinity, identity and tribalism, or did these themes naturally unfold during writing?

I try to steer clear from writing about certain themes. I'm far more interested in character and story because I think that allows for people to take home something a little bit more specific to them and hopefully makes the work feel more accessible and universal - rather than trying to enforce my opinions on what I think these themes entail.

Q) Why do you think audiences connect so strongly with Billy’s story? 

I’d hope that people find Billy to be very relatable because he is just a normal 18 year old kid when we meet him. The way the play is presented to the audience - which is a huge testament to Sean Turner the director - is that it feels almost like stand-up. The audience are forced to spend an hour with this guy and he is very energetic and relentless in the way he speaks to them, almost demanding their attention. 

Q) Has your emotional connection to the show changed since you first performed the show?

Absolutely. All because of the normal actor-y stuff… back in 2023 when we premiered at the fringe, I was worried about the script, trying to remember the lines, hitting my marks, remembering to say a little speech at the end to ask people to share the play around the fringe etc. Now I’ve almost done it 200 times, I feel much more space for discovery and play and I keep finding something new and interesting about Billy’s emotional word with every performance.

Q) When you first created the piece, did you ever imagine it would travel internationally and end up in the West End?

No. Truthfully, I was just amazed to get it up to the fringe. It’s such a hard thing for an artist to take work there. It is expensive, exposing and completely exhausting. Everything that has come since has been a lovely surprise and I just feel so grateful to have been able to go on this journey with it.

Q) The show is set to have a two week run in New York. With such a heavy focus on British culture, how do you think American audiences will respond?

Lots of Americans have seen the show in Edinburgh and seemed to connect with it and give us lovely feedback. I think it will help that the World Cup is being hosted by them but it’s also worth saying that the play isn’t really about British culture or even dare I say, football. It’s more about friendship and belonging. The other things just act as a contextual backdrop for Billy’s story. 

Q) The show has been on quite the journey, from small fringe theatres to the Edinburgh fringe and now finishing on a West End Theatre. What ways do you ensure that the show and its overarching themes still translate at these very different venues?

Our show packs up into a suitcase so it’s been straight forward for us to scale up and scale down where necessary. The bigger challenge is in the performance. The show works best when it feels intimate and like everyone in the room is Billy’s mate down the pub. It just means I have to work a lot harder in the bigger spaces to reach the back row and pull them into the story. 

Q) After the final curtain falls, what comes next for you creatively? 

I’m off to the fringe again in August! This time with a play written by John Dinneen and directed by Layla Madanat called The Jolly Fisherman. It’s a two-hander inspired by real events where a pub in Barking was closed down and later turned into a mosque. The script is absolutely electric and I’m excited to focus on solely the acting part for a little bit!

Q) Why should audiences come along?

This is the last chance to catch this production. It’s been a whirlwind journey over three years, and I promise you this will be a fun final evening in the heart of the West End. It’s also a great way to get into the World Cup spirit.

Why I Stuck a Flare Up My Arse for England is at the Garrick Theatre on Sunday 21^st June for one night only - tickets and more information can be found here.

Photography by Rah Petherbridge