by Rowan Gavin
Since their formation in the early ‘90s, Californian Rock & Rollers The BellRays have befuddled the expectations of music media and the industry, just as much as they have thrilled audiences. They’ve taken an open-minded approach to the genre that has defined American music for the past seven decades, and they’ve been an independent outfit that whole time.
The BellRays have self-published their nine albums through a variety of independent labels, including Upper Cut and Alternative Tentacles. 2017 saw the release of EP Punk Funk Rock Soul vol 1, the long-awaited follow up to 2010’s Black Lightning, and last month gave us the album-length Punk Funk Rock Soul vol 2. I caught up with Lisa Kelaula & Bob Vennum, the band’s permanent members, before they went on stage at Norwich Arts Centre last Friday.Continue Reading
by Hannah Rose
It’s now ten years since the global financial crisis, the most significant economic meltdown since The Great Depression in the 1930s. What better way to mark the event than by going to see The Audit (or Iceland, a modern myth) at Norwich Arts Centre on 21st March? Taking on the voice of a nation which spoke out against the accepted narratives succeeding the 2008 financial crash, Proto-Type theatre’s latest work speaks to the powerless about the powerful.
A medley of performance, text, animation, music and myth-busting promises shine a light on new perspectives of the systems, government and hierarchies that have shaped recent global politics. Be warned: this is theatre that will turn the truth inside out.
This is the second piece of political work by Proto-Type, following A Machine They’re Secretly Building about surveillance in our modern times. Rachel Baynton, Gillian Lees, and Andrew Westerside are multi-disciplinary artists who lead the group, and also support young artists across the globe in making and performing original works.
Come and support this movement of myth-busting and truth telling…
Featured image via NAC, by Adam York Gregory
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by Laura Potts
CW: Mentions violence against children
More than any other art form, spoken word performance art allows an audience to directly interact with the thoughts of the artist. This kind of interaction can often change minds more effectively than argument or statistic, making spoken word art a very progressive medium. As a spoken word enthusiast and an artist on a student budget, I was therefore excited to attend Matt Abbott’s pay-what-you-can preview of his Edinburgh Fringe show ‘Two Little Ducks’ at the Norwich Arts Centre recently. And my excitement was certainly justified – Two Little Ducks is a powerfully thought-provoking, politically driven work.
by Hannah Rose
CW: mentions of sexual assault
Think of your best friend, I bet they spin a good yarn. No doubt they think the same about you. The exchange of life stories is how the finest, most novel human bonds are made. It’s within these intimate, warm spaces where the stories of our lives unfold; cementing who we are, rooting memory, making kaleidoscopes of our imaginations.
This is the essence of True Stories Live—the invention of Norfolk producer Lucy Farrant and writer and host Molly Naylor. Continue Reading
by Hannah Rose
True Stories Live is a beautifully simple idea which has blossomed since its inception a year ago. Each night promises to be engaging and entertaining, offering a storytelling space where the unexpected nearly always happens. The premise is straightforward, inviting members of the public to share their unscripted stories with an audience.
A theme is set for each night and storytellers are invited to workshops to help prepare for their performance. To date, themes have included: ‘There’s No Place Like Home’, ‘Forgive And Forget’, and ‘In Another Life’. A rich experience often including the intimate, the bittersweet and the darkly funny, drawing large audiences each time round.Continue Reading
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
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.