REVIEW: LUKE WRIGHT’S THE TOLL AT NORWICH ARTS CENTRE

by Hannah Rose

Luke Wright’s eighth solo show The Toll is a razor dipped in sugar: Ian Duncan Smith is a “jiggling tit” and rumour has it that a lion stalks the good people of Essex. It’s an hour of truth or dare, but not without the candid insight that self-reflection demands of performance poetry. Wright connects with his audience through just the right amount of personal anecdote tinged with good times and bad, and a generous scattering of cultural and political satire.

Brexit, Question Time and John Betjeman. It’s all in there. This line is hard to walk when it’s just you on the stage—too much waxing-lyrical about good times with your mates and you’ll bore your audience. Equally, too much of the dark stuff and the lights go out. People don’t generally pay £12 to be brought down by bad news.Continue Reading

A WOMAN ON HER KNEES – REVIEW OF LOUISE ORWIN’S A GIRL AND A GUN

by Hannah Rose

He is driving, she is hanging on his arm. Behind them a vista depicting a wide road disappears into desert upon a large screen. The cherry red of her lipstick matches her low-slung red dress, punctuated by a pair of cowgirl boots. Her dreamy expression says she’s completely at ease, hanging off her man; pleased as punch, because he is in control. But he has never seen the script before; he will be reading off an autocue. She is the one driving the show.

Performer-playwright, Louise Orwin, is touring the UK with her new theatre piece, A Girl and A Gun which was performed at Edinburgh Fringe this summer. Jean-Luc Godard’s adage “All you need to make a movie is a gun and a girl,” is the springboard from which Orwin’s performance dives headfirst into a chilling reality which is anything but surface deep.

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TRIGGER WARNING: LOUISE ORWIN’S A GIRL AND A GUN

by Hannah Rose

“All you need for a movie is a gun and a girl,” quipped Jean-Luc Godard. Images of scantily clad women waving weapons around are commonplace in the media. It’s troubling to think how often we consume this image: Charlie’s Angels with their high-heeled kicks and sniper rifles; Bond women emerging from the sea with a pistol stowed away in a pair of knickers, and even pop music’s favourite feminists — Beyoncé and Lady Gaga — wear matching white bodysuits and brandish plastic-looking revolvers whilst singing something about a telephone. Watch out, those gals are gyrating and dangerous.Continue Reading

THE PERSONAL IS POLITICAL: A REVIEW OF TRIBUTE ACTS

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by Hannah Rose

Tribute Acts is a bittersweet piece of autobio-theatre written and performed by Tess Seddon and Cheryl Gallacher from Theatrestate. Set against a space-age backdrop, Tess and Cheryl introduce their fathers via a pre-recorded video link. The dads look uncomfortable in their suits and ties. Their daughters are wearing spacesuits. The gulf between parent and child is obvious, and the unease is palpable.

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NOTHING AS IT SEEMS: A REVIEW OF WILL TEATHER’S INFINITE PERSPECTIVES EXHIBIT

by Hannah Rose

Tiny cheerleaders, an umbrella on the moon, portraits of dead rock stars – all of these and more can be found in the uncanny paintings of Will Teather. Time’s inconsistency runs throughout this unnerving exhibition. Teather plays with time in a way that would be funny if it wasn’t so unsettling. But then again, isn’t that the mark of a significant piece of art? To catch the viewer unawares?

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NORFOLK AND NORWICH FESTIVAL: PEDAL-POWERED CAR CHASE

by Paige Selby-Green

Saturday. 9:30pm. I’m sitting cross-legged on the grass of Chapelfield Gardens, and all around me the Garden Party is still going strong. The Adnams Spiegeltent is a roar of chatter and noise, and beside it a large mechanical dragon — rather charmingly named Elsie — turns the air orange with the glow from her flamethrower-covered body. I’m not here for either of those events, great though they were. I’m here for Pedal-Powered Car Chase, a fifteen-minute performance involving inventive live music, a handful of plucky volunteers, and some exercise in the name of making us think.Continue Reading

A BEGINNER’S GUIDE TO RADICAL FILM — 11AM, APRIL 30TH, NORWICH ARTS CENTRE

Disclaimer: The Norwich Radical is not associated with The Norwich Radical Film Festival.

by Jack Brindelli

Film is often wrongly pigeon-holed as a passive medium — simple entertainment to be used for distraction or escapism. But throughout its history, cinema has never been ‘just entertainment’. At its best, film-making is combative, subversive and revolutionary.

Norwich is a city built on a proud Radical heritage, and the inaugural Norwich Radical Film Festival aims to build on that legacy to inspire the community to engage with ideas and movies that will shake the world. As the first of four monthly events leading to our main festival in August, we are proud to present “A Beginner’s Guide to Radical Film”, taking place on Saturday 30th April 2016 between 11:00–16:00 at the Norwich Arts Centre.Continue Reading