by Lewis Martin
On Sunday 6th May I attended Scratch It! hosted by Hack Theatre at the Norwich Arts Centre. Aimed at attracting new writers and ongoing projects, the evening looks to give a platform to work that is happening in the area so it can be developed and flourish. The arts varied across the evening, ranging from comedy to drama and using different styles and formats.Continue Reading
by Carmina Masoliver
Piles of colourful patterned fabrics line the stage, and three women dressed in black Lycra leotards select a fabric and wrap it around their head. The fabrics are drawn across the stage as the performers’ bodies undulate in a backwards crawl, before the scene is set as a hair salon with the colours swept away in a swirl around a chair.
As the title The Hair Wrap Diaries suggests, during this Uchenna Dance production written by Bola Agaje in partnership with director and choreographer Vicki Igbokwe, we hear different stories from each performer. Yet the show is also interspersed with dance, giving it a strong sense of poetics as the words are broken up and repeated with the movements. The stories themselves are carefully selected, offering a rainbow of different generations of black women, exploring their relationship with hair.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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Content Warning: Racial slurs, homophobia
by Chris Jarvis
A few minutes’ walk from the dreaming spires for which the city is famed lies East Oxford’s Cowley Road – the hub where ‘kids of the multiculture’ grow up. An area undergoing rapid gentrification, it still retains its working class heritage, ethnic diversity, and unique character under the strains of the expansionist middle classes settling, with students and university professors increasingly filling the nearby terraces.
Cowley Road is home to the O2 Academy. Previously the Zodiac, the venue is emblematic of other changes in the area – a corporate takeover of a formerly independent music venue. Across the road sit branches of Subway and Costa, but a little further down is the Truck Store – the pivot of the local independent music scene. Here, at Oxford’s O2 Academy, Manchester-born Sonic Boom Six get set to tear up the stage on a Friday evening. 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 Carmina Masoliver
I’m not usually one for instrumental music, or music where I don’t understand the lyrics. Perhaps as a writer, I cling onto the words to evoke feeling. Perhaps this is also the reason why writing about music proved to be truly ineffable on a ‘Words and Music’ module I took at UEA, leaving me with a respectively low grade. I have been to operas and seen classical orchestras, willing myself not to be bored, trying not to fall asleep.
Often, I pretend to myself that I enjoy these things, or that at least it was “an experience”. I don’t like to reject a whole genre of music, so that is not my point here. I wouldn’t desecrate classical music as a whole, yet believe that we all have particular music tastes. For example, instrumental band 65daysofstatic are able to provoke emotions and excitement without the need for words, to me. Similarly, I was recently able to enjoy a performance of flamenco in Córdoba, and it happened both while instrumental, and without understanding the lyrics.Continue Reading
by Hannah Rose
Director Tim Lane’s adaptation of Richard III is bone-chilling—and that’s not only down to the lack of heating in the Shoe Factory Social Club in Norwich. Shakespeare’s story of the wicked and rapacious King Richard is superbly located by Crude Apache in the disused factory space, which has been turned into a frightening vision of the future, an urban hinterland where people live in makeshift communities of cardboard boxes and behind wire fences. Exposed lights, metal girders and old sofas furbish the old factory; I could have been inside a modish bar in Hackney, or a punk squat in Berlin. The thumping techno beats made it all the more ethereal, and for a moment I was back at an illegal rave I once went to when I was twenty, except this one sold gin and tonics and cups of tea.Continue Reading