Hannah Kumari brings her smash-hit one woman show, ENG-ER-LAND, to the King’s Head Theatre this month although she has passed on the leading role to Nikhita Lesler.
The play is set in 1997 - a confusing time for the lead character, 14-year old Lizzie. Her mum’s from India, her dad is Scottish whilst she was born in England. All she really wants though is to look like Gwen Stefani.
As her friends turn their back when she needs them most, and her dad’s affection seems to be focused elsewhere, Lizzie starts to question if there's anywhere she really belongs.
ENG-ER-LAND is inspired by Hannah’s personal experiences of going to Coventry City matches in the late 90s and growing up as a mixed-race teenager in a small midlands town. The show blends storytelling, dance and 90s nostalgia to explore themes of belonging, identity, football culture and the age-old question of ‘where is home’.
Hannah Kumari
“I found it really hard growing up being mixed heritage,” Kumari told Eastern Eye.
“I didn't realise that I found it hard at the time, because when you're a child, back in the 90s, we didn’t have as many conversations as we do now about identity.”
Kumari said whilst the show is not strictly autobiographical, it is inspired by things she has seen or experienced in her life.
“The majority of the play takes a place over the course of one day as Lizzie is on her way to football. We see through the people she encounters and the experiences she has, some of the struggles she faces, like discrimination from her friends or people that her friends know in not being quite accepted within the group for being different,” she said.
“It is very much a personal story, because I was an actor before writing this play, and I'd never written anything before, so it was my kind of personal story dramatised in some places.”
Kumari's mum is from India and came to the UK when she was six whilst her my dad is white Scottish although he was born in the Midlands.
She reveals that she had “quite a white English upbringing”..
“I'm from a small town, Rugby. All my friends were white, but throughout my life, for some people, my upbringing has not matched up with my skin colour.
“I really struggled with feeling like there was a place where I did belong and I was accepted.”
The sense of belonging came in unexpected surroundings - a football stadium.
Hannah’s love of football began when her stepdad came into her life when she was 10-years-old. Whilst he was a die-hard Arsenal fan, she decided to support her local team Coventry City.
Her uncle was also a Coventry City fan and was a season ticket holder.
“I was just hooked from that first game. I was like, ‘this is amazing. I love everything about this’,” she said.
“I later got a season ticket and started to go with my uncle and his friends. I can tell you, there wasn't many 13-year old brown girls going to football in 1996 especially with a group of white men in their 30s.
“On the surface of it, I didn't look like I belonged there, I'm not saying I didn't have any negative experiences, because I definitely did, and I have as an adult woman as well (at football grounds), but in those moments where you're in the crowd with all the people that support the same team as you, you all want the same thing, it is a really special feeling.
“Sharing those big emotions with those people, was something I din't feel like I could share with my own family as I felt quite isolated growing up, and football really offered me a place where I felt more at home - I felt like I was part of something, I felt like I had a community.
“It was also an escape. When you get crazy football games, you just forget about everything else, don't you? I love it because it's so quick and fast, you have to keep your eye on what's going on, because you really never know what's going to happen. And that's why it's so brilliant.”
Kumari is a writer, producer and former actor who manages the Fans For Diversity Campaign alongside Nilesh Chauhan.
The campaign is a partnership between the Football Supporters’ Association (FSA) and Kick It Out. Its aim is to celebrate diversity in football to ensure all fans feel safe and welcome at the game, regardless of; age, disability, gender, race, faith, sexual orientation or any other protected characteristic.
Kumari’s relationship with The FSA began in 2020 when Fans For Diversity, alongside Arts Council England, supported the development and subsequent tour of the original production of ENG-ER-LAND.
The timely return of ENG-ER-LAND follows a recent revealing and shocking documentary from Sky Sports Football’s Hidden Talent which investigates why there are still so few players of south Asian heritage in both the men’s and women’s game, described by some as a ‘football emergency’.
More than four million people with South Asian heritage live in the UK. But only 22 male players out of approximately 3,700 professionals, have south Asian backgrounds and the women’s game faces similar problems.
According to research conducted in 2023 by Kick It Out and the FA, "Asian participants in football are deemed to be most likely to experience discriminatory abuse based on ethnic origin.”
“I wrote ENG-ER-LAND to highlight some of the struggles faced by groups who have traditionally been underrepresented in the stands at football, and to celebrate my lifelong obsession with the game,” she said.
“The play is also an exploration of my mixed heritage identity and the idea of Englishness - what does it mean to be English, who gets to define that, and where does football fit in?”
After performing and touring the show for three years, Kumari passes the ball to Lesler but will continue to produce the show.
“It's really exciting for me now to pass on the play to somebody else, because I have always performed it previously, so this is the first time that I'm not performing it,” she said.
“I've known Nikhita for a couple of years now - she's worked on a couple of other projects that I've been writing. I asked her directly because I thought she was the person to play the part as she's a great actress - I'm really excited to see what she does with it.”
ENG-ER-LAND is running at the King’s Head Theatre, London from 25 July - 10 August.
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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