Article
Community
Culture
Football
Friendship
4 min read

As the season starts, here's why fans go mad for football

The game is part of life, but not all of life

Henry Corbett, a vicar in Liverpool and chaplain to Everton Football Club.  

  

A football stand displays a long banner with text on it.
Everton F.C.

“I hate football,” said the mother of two mad keen footballing children. The clue to the hatred is maybe in the ‘mad keen’. Why do children and adults care so much about football? 

“That Champions League music is so pompous…!” 

“It’s only a football match! They make it too important. If their team loses then they are miserable for the whole weekend.” 

“We can’t plan holidays until the fixtures come out.” 

The money spent, the jobs refused, lost or short-changed, all because of football. A giant banner at a recent Everton home game read “I simply love you more than I love life itself”. 

And there is football manager Bill Shankly wisdom: “Football is not a matter of life and death. It’s more important than that.” At least that was a typical Shankly quip, hyperbole for effect.  

Why do some of us love football so much? 

It often goes back to childhood. Playing with mates, scoring a goal, saving a goal, enjoying the togetherness, the shared aim, the friendships formed. Then there’s that first experience of going to a match. Up the stairs and there before you is a great huge rectangular expanse of green grass. Back in the day, it was maybe not so green, but still way more impressive than your back garden or the local park. Then comes the drama, unscripted, of the game. The sways of emotion, the joy, the frustration, and all experienced as part of a bigger community. When you kick a ball with your mates aged 50, or go to a game aged 80, you are doing something that connects you with your childhood enthusiasm, joy and wonder. 

Then there are the family connections. You may have gone to that first match with your Mum, Dad, Grandad, older brother or sister. When Everton supporters were asked about their feelings at the last Premier League game at Goodison Park, again and again they referenced family members who they had gone to the match with. Some passed away, some no longer able to go, even some whose ashes were buried behind the goal. 

There are the great memories of games seen or even played in. That win from 2-0 down, that last minute goal, the euphoria of a Cup win against the odds. And the memories are shared ones, with family, with friends. Football can write some miserable scripts, 0-0, 0-1, 0-6, but it can also write some wonderful memorable dramas.  

Love for family, for friends, for a team, for players is a deep emotion and when that love is linked to victory or defeat the stakes are raised. 

There is another reason which can touch us all, football-lovers or football-haters. Deep down we all want to be winners in life, not losers. The feeling of victory, not defeat, is such a treasured one. And the win, or loss, is a shared one: we are part of a group together, an identity together. Love for family, for friends, for a team, for players is a deep emotion and when that love is linked to victory or defeat the stakes are raised. In life we want goodness to win over evil, kindness to win over cruelty. The reason every Church shows the symbol of the Cross is because there was the ultimate demonstration of purposeful love, the sacrifice for the sins of the world, down the ages, across the world. When the apostle Paul writes to beleaguered, persecuted Christians facing death at the hands of Emperor Nero, he tells them “We are more than conquerors,” more than winners.  

Football, playing or watching, taps into that deep feeling of victory. “We’re on the march with (manager’s name here!) army…. And we’ll really shake them up when we win the FA Cup…” When my team faced the prospect of relegation I wondered why I was feeling butterflies, and more than butterflies, in my stomach. Why did I care so much about this game of football, and the result at the weekend? Yes, because it affected people’s lives, because it would mean loss of income and job losses at the club if relegation happened. But also, because the feeling of defeat, of failure, would hang over us, and that feeling goes deep, to the pit of the stomach.  

So why do some of us care so much? Because football taps into deep feelings; of family and friendship, joy and elation, togetherness and identity, and that wonderful feeling of victory… or the sorrow of defeat. Those feelings go deep. The problem is that football, unlike the Cross, sometime delivers, but definitely doesn’t always. That’s a reason why the mum of those those two mad-keen football-loving children should try and make sure that her two sons have other interests besides football, another faith beside faith in their team. Football is part of life, but not all of life. I also hope she stops hating what can be a beautiful, enchanting, community-fostering game, with many a helpful story to tell. 

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Review
Awe and wonder
Culture
Theatre
5 min read

This Narnia play left me yearning to cheer on good

The Lion, The Witch and The Wardrobe is still relevant at 75.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

 A play set shows a witch and lion on stage.
EMG Entertainment.

This article contains spoilers.  

It’s been 75 years since C.S. Lewis’s The Lion, The Witch and The Wardrobe was first published, and the story is still captivating audiences and even sparking fresh controversy. 

If you hadn’t heard the news, the role of the lion, Aslan, is rumoured to have been offered to Meryl Streep, a woman, for Greta Gerwig’s upcoming film, set to be released in time for Thanksgiving next year. 

I recently saw another adaption of the famous book - Adam Peck’s play - in a theatre in Torquay, as part of a 75th anniversary tour of the UK.  

And having previously read the book and watched two different film versions, I still found myself considering elements of the story I hadn’t previously, hidden depths I hadn’t noticed - even if these didn’t include Aslan’s gender. 

For those not familiar with the tale, it follows the journey of four children through the doors of a magic wardrobe, which transports them into a fantastical kingdom in which a lion reigns but a witch has held dominion for 100 years. 

Under the White Witch’s spell, there has been only winter for a century - “always winter and never Christmas”, as one famous line from the story goes. 

But now, thrust into this story in the fulfilment of a prophecy long foretold, four “sons of Adam and daughters of Eve” - boys and girls, to you and me - come as the lion king returns, and a new day dawns. 

The winter begins to thaw, Spring is in the air, and Father Christmas even shows up to shower the children with gifts. 

But the return of Aslan - and even Santa Claus - doesn’t signal the end of the story. There is still a battle to be fought; the witch still has power and even ensnares one of the children, Edmund, with the promise of all the Turkish delight he could wish for, and the title of a prince. 

It is at this moment - still early in the tale - that the battle between good and evil is clearly laid out, and the forces of light and darkness clash thenceforth. 

In the play, those enslaved by the witch are clad in black to emphasise the distinction, while much is made of the meaning of the name of the youngest child, Lucy: “bringer of light”. 

The imagery is abundantly clear, as it has ever been in Lewis’ Chronicles of Narnia, of which the The Lion, The Witch and The Wardrobe is the first and most famous of seven books. 

And the author, renowned for being an atheist who later became a Christian, leans heavily upon his newfound faith throughout the Narnian tales, and not least in the character of Aslan. 

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good. 

At Easter, it is especially hard not to see in Aslan’s death and resurrection a striking similarity with the figure at the centre of the Christian faith. 

Indeed, it was this moment of greatest sacrifice - for the “traitor”, Edmund - that most struck me this time around, even though I already knew the story so well. 

At church the following day, as I took Communion, I was still reflecting on Aslan’s sacrifice and wondering whether Edmund more closely resembles the average Christian - myself included - than the older, nobler brother, Peter, in whom most of us would prefer to see our likeness. 

My mind returned to a moment in the theatre that had humbled me, when the lady sitting in front of us handed me £20 to treat my children for being “so good”, having at the interval made me bristle by asking them to sit quietly and stop kicking her chair. 

“Fair enough?” I hear you suggest. Well, perhaps, but I didn’t think it until that humbling moment after the curtain had closed. 

My son later told me he hadn’t thought the lady had been unkind, which again got me thinking about my own imperfections and need to be more childlike. 

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good. 

I doubt many audience members were rooting for the witch, while I suspect most can also understand the need to “beware the witch”, as one song from the play puts it 

Another biblical parallel is the fulfilment of a prophecy long foretold, while both the Bible and The Lion, The Witch and The Wardrobe highlight the special significance of someone innocent dying to save the guilty. 

There is even a clear reference at the very start of the book and play to one of Lewis’ most famous pieces of theology, when the professor in whose wardrobe the children later get lost asks them a question as they consider whether or not to believe Lucy about the magical kingdom that she first glimpsed. 

She’s either lying, mad or telling the truth, the professor says, in much the same way that Lewis says of Jesus Christ’s own central claim: he’s either “mad, bad or God”. 

As for the success of the play, as someone who no longer lives in London, I was certainly impressed by this West End product. 

The scene changes are creative, aided by music, dance and possibly even a trapdoor - my children and I had different opinions on how the magical disappearances of certain characters were achieved. Maybe it truly was magic. 

There’s also the nice touch of the play starting even before it officially begins, through the twinkling of a soldier’s fingers upon the keys of a piano while the audience take their seats - perhaps to help us turn our minds from a sunny day in the English Riviera to dreary London at the time of the Blitz. 

So, do go and see the play if you get the opportunity - it’ll do you good and make you think, whether or not you choose to consider if the lion is male or female.