Written and Performed by Alex Hill

Review by Marina Funcasta

It’s the Euros 2020: the biggest football event for England in 55 years. The atmosphere is untamed, nearing explosive. Especially for Billy, who, feeling a sudden wave of buzz, either from his 24th pint, a third gram of cocaine, or, of course, the nationalism which floods the air, literally puts a flare up his bum.

Apparently feeling nothing, it seems absurd that a man could have done this out of his own volition. But in this one-man show, based on true events, the reasons for this and so many more dangerous match-day habits, could not have been made clear. Alex Hill’s script shines in its honesty, from scenes following Billy’s humble beginnings working for his dad’s hairdressers to a physical fight sequence wherein he repeats the haunting chant “Saturday, pint, gear, match”. Under the meticulous direction of Sean Turner, Hill is shown to be capable of physicalising tension with utmost dramatic power.

At times unsettling, the arduousness of Hill’s performance was not lost as, especially in the latter, more physically demanding scenes, the contained space @ Niddry Street becomes almost too close for comfort; unafraid to push through the fourth wall, which at times can feel intimidating, Hill nevertheless does so with mountains of understated charisma.

With one-person shows, a struggle is often encountered in the construction of character. This, however, is what Hill exceeds at, effortlessly flowing between voices and physicalities. His skills are most pronounced in a scene at the pub where, in a fashion similar to the confrontation between David and Goliath, a face-off between the ‘little man’ (Billy) and the ‘big man’ (Winegum), nearly ends in a scrap. That is if it wasn’t for the unifying power of tribalistic football.

The emotional heart of the play resides on Billy’s long-term friendship with Adam. Written in a way that introduces the relationship between toxic masculinity and mental health as understated and unexpected, it is certain to give some audience members whiplash. The ending is as beautiful as it is thought-provoking, and in a play that seems to be all about rationalising violence, Hill’s Billy becomes an everyman that affords enough compassion that you can’t help but find yourself questioning whether you too, given the circumstances, wouldn’t also stick a flare up your arse for England.