Six shows for next year’s Norfolk and Norwich Festival have gone on sale.
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Norwich Film Festival has opened with a screening of thriller The Stranger and a question and answer session with Norwich-based actor Sean Harris.
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This tale of murder delivers a stream of laughs and satisfying twists and turns, with a strong central pairing who entertain from start to finish.
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The National Symphony Orchestra of Ukraine is to play at Norwich Theare Royal next year as part of a 17-date tour of the UK.
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This bold musical adaptation of Alice Walker’s Pulitzer Prize winning novel takes a Technicolor approach to some very dark issues.
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Chris McCausland is going places. And not just because he has just filmed a travel series for Channel 4. The Liverpudlian stand-up star is back on the road with an extended leg of his Speaky Blinder tour which will see him perform over 130 dates nationwide.
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A new play about homelessness backed by the Big Issue Foundation will take in Cambridge and Wisbech on its national tour.
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How life and love can push us forward and hold us back is at the heart of this tragi-comic drama set in a Cromer cafe.
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An East Anglian courtroom drama, Pinter, and Shakespeare are among the shows making up the Sewell Barn Theatre’s next 2022/3 season.
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The story of Kett’s Rebellion intermingles with modern-day acts of challenge in this genre-bending performance staged on a Norwich heath.
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Maisie Adam has called her debut tour Buzzed because she has lots to be buzzed about. Her relationship with her fiancé, her excitement at England’s victory in the Women’s Euros and lastly but by absolutely no means least, the way her comedy career has taken off.
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This 19th century Gothic novel has been the subject of many adaptations, including an Andrew Lloyd Webber musical and several film, TV, and theatre adaptations.
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Rob Madge really wants all eyes on them – and it’s pretty impossible not to be captivated in this audacious bullet train of show.
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For 25 years the Nimmo Twins have been poking fun at Norfolk life – and Norfolk keeps laughing back.
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Dylan Thomas’ famous radio play poses a choice when mounting a stage production: keep things simple and stick to the poetry, or attempt to inject some visual flair and risk overpowering the words.
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