Geoff Norcott

Maddermarket Theatre

John Shuttleworth’s Back

Norwich Playhouse

Graham Fellows discusses his new show, John Shuttleworth’s Back

"Sometimes I have to check myself and think whether John would really say something. I worry that John might be a Daily Mail reader who supports Brexit – I don’t think he is, but sometimes it’s tricky to come down one side or the other..."

My Kind of Michael

Norwich Arts Centre

an evening of knockabout fun with a charming host that was warm and inclusive, but how frustrating that, with a just a little more work and attention to detail, we could have had so much more.

Edinburgh Fringe Some Acts coming to Norwich

Rowan from The Playhouse went to spot for talent, see what she picked to come to The Playhouse

Al Murray - Pub Landlord

Theatre Royal Norwich

Sainsbury Centre interview Roger Law

Sainsbury Centre for Visual Arts

Get an insight to the Spitting Image co-creator Roger Law

Art Nouveau: The Nature of Dreams - Review

Sainsbury Centre for Visual Arts

After a disrupted opening in the spring, the Sainsbury Centre’s Art Nouveau exhibition has at last opened its doors to the public. Although, not in the way you’d probably expect.

Art Deco By The Sea Exhibition Review

Sainsbury Centre for Visual Arts

Reclaiming stereotypes: Mann up

Gallery in The Lanes

Luke Wright - Stand Up Poetry While Sitting Down at Home

Blithe Spirit

Theatre Royal Norwich

The Red Shoes

Theatre Royal Norwich

Rambert 2

Norwich Playhouse

Drink Rum with Expats

Norwich Arts Centre

I’m watching something meandering, discursive and episodic, but for all the seeming flakiness and chaos, it quickly becomes apparent that Louise and Rebecca are presenting a tightly choreographed duologue. What sets Sh!t Theatre apart, however, is a willingness to flip humour and horror back and forth – sometimes recklessly so. The maxim of not knowing whether to laugh or cry never seemed more apposite and the effect is unnerving and disorientating.

Dial M for Murder

Theatre Royal Norwich

A hugely entertaining production that acknowledged its period charm, yet cleverly distinguished itself with a stylish shift to the louche, unbuttoned milieu of the swinging sixties. Anthony Banks’s jolly revival never took itself too seriously, yet delivered all the necessary ingredients. It was fun, wildly improbable, and tied everything up neatly at the end