Life is measured in many ways: money, family, legacies left behind, even Elliot’s coffee spoons. But for film maker Sam Green the main measure is Guinness – or more precisely, the book of records to which the black stuff gave its name.
Explore MoreDrones sweep overhead, orders are barked from speakers, and fires
burn all around: so opens the ambitious, dystopian finale of this year’s
Norfolk and Norwich Festival.
On the first day of the new Parliament, Green MP Caroline Lucas made a timely choice to draw this year’s City of Literature strand of the Norfolk and Norwich Festival to a close.
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There can’t be many bands that count a tap dancer as one of their percussionists, but that’s not even the most extraordinary thing about the Hot Sardines.
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Songs of death and despair can be a little spine-chilling at the best of times; combined with a slighty nippy Spiegeltent it could be quite hard to find some respite.
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Norwich was in the mood to party tonight, and the House Gospel Choir was more than happy to provide the soundtrack.
Explore MoreTime is relative, it moves at different speeds — but sometimes that gets stretched to the extreme.
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Norfolk has played the background for many movies but what would those films be like if the Hollywood stars were replaced with local people, and the army-like production teams replaced by one man and a slightly battered camcorder?
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Norfolk’s Voice Project has tackled one of its biggest subjects yet for this year’s contribution to the Norfolk and Norwich Festival: space.
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There’s a special belly laugh reserved for watching things go horribly wrong – and this show has belly laugh moments in spades.
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This early show of the Norfolk and Norwich Festival saw established writer Sarah Waters and relative newcomer Sarah Perry exploring the idea of the Gothic imagination.
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The brutal ordinariness of mass murder is the challenging topic of this play, which charts the strange relationship that builds up between nine-year-old German boy Bruno and his young Jewish friend Shmuel, the two seemingly so similar – except for the concentration camp fence that separates them.
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What drives an 87-year-old man to spend two hours on a Norwich stage? For Sir Bruce Forsyth, the answer seems to be a genuine love of entertaining.
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