Writer Becky Deeks tells us about her new play, premiering at Birmingham Rep.
In association with feminist arts organisation, Fractured Glass, the play Good for a Girl will premiere at Birmingham Rep from Wednesday 19th-Saturday 22nd February, before going on a tour across the Midlands.
This comedic and hard-hitting new drama celebrating and exposing the real-life experiences of women in football was written by the head of Young Rep, Becky Deeks and is directed by Lucy Wild. Becky Deeks spoke about the play.
What inspired you to write and create Good for a Girl?
“Football has always been a huge part of my life. As a kid, I spent most weekends playing down the park with my dad and brothers. Then, Crystal Palace came into my primary school to coach girls-only sessions. My school had a girls football team – we reached a cup final and played at Selhurst Park the same day as the Women’s FA Cup final. It was the first time I remember seeing women playing football competitively.
“In 2005, the Women’s Euros were held in England and my coach at the time took us to watch England play. The publicity was so bad, I’m not sure I even knew I was watching the Women’s Euros! I do remember my coach saying ‘That could be you one day’ and me replying ‘I’ll need to have a real job too.’ The following year, my team began to compete in women’s leagues and played in the FA Cup for the first time.
“The change in women’s football in the past 10 years is staggering. I love it; it’s also hard
not to be a tiny bit jealous of any girls born now. I do know how lucky I am that I played football, despite the odds. But, the misogyny in football is still terrifying. Good for a Girl came from a place of anger – a need to challenge what’s going on, not only in football but also in the wider world.
“It was also written to celebrate women in sport. There is nothing like being part of a team. I love how a team lifts each other, challenges each other, supports each other… there is an honesty and a depth of friendship in a good team you don’t get in many places.”
Are there any specific historical or personal stories that influenced the play?
“So much of the play is based on real-life stories and experiences. I interviewed incredible professional and grassroots players anonymously and these stories have filtered into the play, as have my own experiences as a player and as a fan. Good for a Girl doesn’t explore the history of the game but rather looks at what it is like to play for a competitive, non-professional team now.
“A lot of personal stories have found their way into the script. One example would be the team leave the pitch at half-time complaining about rocks in the ground. I once played for a club that decided to give the women’s team their own pitch, which is almost unheard of. To make the pitch playable, the whole team spent three days collecting stones and rocks out of the ground. I remember being so happy – you got paid £1 per bucket – but I look back and can’t quite believe we did that. Every time it rained the stones would come up again and sliding tackles became a lot riskier.”
How does the play challenge or shift perceptions of football, and what role do the characters play in changing those perspectives?
“Since the Lionesses won the Euros in 2022, women’s football has grown hugely in popularity and there has been a real shift in how female footballers are perceived – some of the players we interviewed back in 2021 have become household names; they are viewed as heroes. The play celebrates women in football and recognises them as athletes who have as much right to the game as their male counterparts.
“At the same time, it shines a light on the inequalities women experience. Through the characters, we see football isn’t always glamorous and it can be really hard work for women balancing caring responsibilities and careers. It reveals the fact clubs continue to prioritise their mens and boys teams and the resilience it takes to be a woman competing in that space. I also hope it shows how much a group of women can achieve when working together”.
Alongside the tour, you’re running workshops and working with grassroots women’s football clubs — tell us about that work and what impact you hope it will have.
“There’s no point putting on plays if it’s the same theatre-goers that come to everything. I love those theatre-goers and I’m grateful for them but theatre should be for everyone. I particularly want to see all young people able to access theatre and finding it can be a place for them to be part of a family and to express themselves. For me, this is what football can also do. There are so many similarities.
“We have partnerships with Aston Villa Foundation, Derby County Community Trust and other youth and community groups. We are using both drama and football skills to explore some of the themes of the play and to open up important conversations. We are also then bringing lots of these young people into the theatres, which is very exciting.”
If there was one thing you could change about how women’s football is represented in the media and in theatre, what would it be?
“It’s hard to pick just one thing. I do get really annoyed with people who hate women’s football and form strong opinions on it and yet never watch any women’s teams play. I would love to see women being presented in a positive light as strong, powerful and competitive.”
How do you want audiences to feel when they leave the theatre?
“Inspired to go and support their local women’s team. Or even to start playing football. I also want them to hold their friends closer and find that place where they belong and can be themselves.”
