Already a Fringe sensation from years of touring the UK and Australia, and soon to play the US in July, this one night West End debut of Why I Stuck A Flare Up My A*se For England had high expectations to meet. Thankfully for everyone in the packed Garrick theatre, these expectations were not only met but exceeded. Right in the heart of the country’s creative hub, writer and performer Alex Hill has proven his place as one of theatre’s most exciting new talents.
So writes Harry Conway for theQR.co.uk.
It’s managed to transfer to the West End effortlessly.
The show itself first premiered 3 years ago at one of London’s finest Pub Theatres (The Old Red Lion, under Artistic Director Jack Dugan) and has since evolved in the best of ways. Born in those small intimate spaces of Fringe Theatre, it’s managed to transfer to the West End effortlessly.
When played out with the raw, real emotion that Hill ended this night on it, like the rest of the show, is simply impossible to fault.
It’s a credit to both Hill and director Sean Turner that it’s lost none of its original charm along the way, while attaining brilliant professional touches – most importantly the eponymous flare itself now has an appropriate level of bombast and stagecraft that early versions lacked.
Hill unearths a nuanced coming of age story.
The narrative reflects this growth and confidence, by telling the same fundamental story it’s told since it started, but now with the exceptional polish it’s gained from over 200 performances. Hill plays Billy Kinley, a character inspired by the real life bum flare enthusiast who became infamous during the Euro 2020 finals (which famously took place in 2021 and saw the cup Going Rome instead of Coming Home).
Starting from this note of hijinks and levity, Hill unearths a nuanced coming of age story that tackles heavy themes of violence and modern masculinity, while never losing its edge as a fun and engaging tale filled with endearing characters, each moment of comedy matched with a moment of drama.
It’s Hill who steals the show.
It’s a good story, and Hill’s performance elevates it all. When you see performances that rank with the absolute best they feel less like acting and more like embodiment; seeing Hill at the top of his game has you witnessing exactly that. Nowhere was this more apparent on the night than the handbrake turn of an ending, one that after so many years may feel like it could be fleshed out a little more and perhaps threaded through the narrative earlier, but when played out with the raw, real emotion that Hill ended this night on it, like the rest of the show, is simply impossible to fault.
Hill unearths a nuanced coming of age story.
Supporting all this is excellence behind the curtain, from the commanding design by Joel Clements to the sound from Sam Baxter and of course Turner’s deft hand in bringing it all together, but as you might have guessed it’s Hill who steals the show. Alex Hill is not only a breakout star who you should go see perform in anything, he is an artist whose work embodies all that’s wonderful within Fringe Theatre.
All Images: Why I StucK a Flare Up My Arse for England © Rah Petherbridge
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