|Sat 01 Nov 8:00||Desperado: Heart of the Eagles - Hotel California plus tour||Music & Dance||Book/Details|
|Wed 05 Nov 8:00||Belle (PG)||Cinema||Book/Details|
|Fri 07 Nov 7:30||The Supersonic 70s Show - CANCELLED||Music & Dance||Book/Details|
|05 November to 29 November||North Sea Waves by Maggi Hambling||Details|
Our new brochure for Oct-Dec is available. If you would like to receive one each quarter call 01379 652241.
Make a real difference to your community - DONATE to the Heritage Triangle project.
The Diss Heritage Partnership has secured a grant of £1,656,400 from the Heritage Lottery Fund (HLF) towards the £3m Heritage Triangle project. It's a once in a lifetime opportunity to transform Diss but we are not quite over the finishing line yet. We still need £33,000 to hit our target of raising £100k locally. To get involved and donate.
Go to www.heritagetriangle.co.uk
Our fundraising will be a vital contribution toward the town’s £3 million Heritage Triangle project which could transform Diss.
Peter Hyde, whose shop Diss Iron Works is in the Heritage Triangle, said “as a Diss business owner I am fully behind the project. It will really put Diss on the map, attracting new shops and more visitors.”
You can also send a cheque made payable to The Diss Corn Hall Trust addressed to The Diss Heritage Partnership, Diss Corn Hall, St Nicholas Street, Diss. Norfolk IP22 4LB or email firstname.lastname@example.org to request a copy of the Heritage Triangle fundraising information brochure and donation form.
Help out with our Arts Awards
Our Arts Award group is celebrating success after scooping the Arts category in the Bernard Matthews Youth Awards on 29th October for their film project entitled The Diss Appearing Triangle which took 9 months to complete.
The Awards held at Open in Norwich netted the group prize money of £1000 to be spent on equipment and funding for future Arts Awards projects.
Diss Corn Hall's next Arts Award term has begun! If you are 11-18 and would like to explore and discover a specific - or a variety - of Arts disciplines in a friendly and fun atmosphere, come along to the Diss Corn Hall Arts Awards sessions on Wednesday evenings between 4pm and 6pm during term time.
For more information about Arts Awards visit their website on www.artsaward.or.uk. You can also keep up-to-date with what our group is up to on the Arts Award section of the Corn Hall website.
Arts Awards is a nationally recognised qualification with Bronze, Silver and Gold levels.
We also put on a showcase event for parents and families as well as occasional Saturday workshops in a variety of art forms which you will need to be available for.
Diss Corn Hall
Located in the East Anglian market town of Diss on the Norfolk / Suffolk border, this impressive Grade 2 listed building, originally built as a corn exchange, is now a thriving arts venue offering regular high quality entertainment from theatre, comedy and cinema to music, family fun and art.
The DCH Blog
Belle - a pre-screening review
Taking its inspiration from an enigmatic painting of Dido Elizabeth Belle, Amma Asante’s romantic melodrama uses the tropes of a costume drama more usually associated with a Jane Austen adaptation to artfully examine the slave trade.
We know very little about the real Dido and the life Asante gives her on screen sometimes defies credulity, but credit must be due for creating a tale that is as entertaining as it is thought-provoking. A charismatic performance from newcomer Gugu Mbatha-Raw manages, with a skilful balance of vulnerability and steely determination, to make Belle absolutely believable. The film’s most intriguing character, however, is Dido’s surrogate father Lord Mansfield, played by Tom Wilkinson. In a film crammed with the usual suspects – Penelope Wilton, Miranda Richardson, Emily Watson – Wilkinson delivers a subtle portrayal of a complex and conflicted man that stands apart from his peers.
This is an impossibly photogenic 18th century, with a lush score from Rachel Portman that sometimes threatens to overwhelm the narrative, but it’s also an a sincere and accessible examination of British social history. Its message is that change in this country comes in pragmatic baby steps, not from revolution but from within the establishment. To that extent it makes it more relevant, and more resonant, for a British audience than 12 Years a Slave – it feels like our story.
By David Vass
Friday 31st October 2014
Jimmy's Hall and National Theatre Frankenstein - pre-screening reviews
There’s a chance to see the work of two of Britain’s greatest directors this week - Jimmy’s Hall, directed by Ken Loach and a broadcast of Danny Boyle’s Frankenstein from the National Theatre.
Loach’s film is a fitting return to form after the uneasy tone of Angel’s Share. Didactic, polemical and angry, it is everything that infuriates Loach’s critics, and everything that makes him worth watching. Loach takes the story of James Grafton - the only Irishman to ever be deported from Ireland - as the starting point for an examination of a post-colonial country in turmoil. It’s a compact, simple story, passionately told with humanity, and packed-full of joy and hope, notwithstanding its melancholy narrative. Barry Ward is fittingly charismatic as Jimmy but it is Jim Norton, as Father Sheridan, that stays in the memory. His nuanced performance deftly avoids pantomime villainy. He is monstrous yet principled, ruthless yet troubled – his internal conflict an exemplar of the issues at the heart of this film.
Jimmy’s Hall has had a few dim-witted reviews, seemingly oblivious to Loach’s meticulous adherence to the facts of the case – these reviews should be ignored. It seems, even now, folk struggle to accept that an ordinary working man could be that noble and that articulate, and would be that brave in the face of a venal, self-serving union of church and state. It makes the need for such films, and Loach, all the more palpable.
Frankenstein may be a play, but Boyle’s cinematic sensibilities are evident from the outset. Nick French’s faithful adaption is enriched by an extraordinary spectacle of a show. With stunning lighting, and the empathetic rhythms of Underworld’s pounding score, steam trains, burning cabins, blood and guts, rain, snow and fire all combine to startle and amaze. For all this sound and fury however, the play truly comes alive when the two leads first meet, standing face-to-face discussing philosophy on an otherwise empty stage. Benedict Cumberbatch based his creature on recovering stroke victims, and it’s a haunting, harrowing performance, as is the understated insanity of Johnny Lee Miller’s Frankenstein. Although we only get to see it one way round, it’s easy to see how Cumberbatch and Millers's nightly swapping of roles informs and influences what each of them do, making explicit the idea that the creature and Victor are two facets of the same character.
Occasionally episodic, and with some uneven supporting work, this isn’t the unalloyed masterpiece some have said, but it is astonishingly exciting theatre, audaciously staged and brilliantly acted. Like a fairground ride for grown-ups, as soon as it has finished you want to go round again.
By David Vass
Sunday 26th October 2014
Marcus Brigstocke: Je M'accuse - I Am Marcus - a review
Marcus Brigstocke is a sneaky fellow. Instead of his signature splenetic diatribes, he teased his audience’s assumptions about the show they were getting, with the simple pleasures of daft voices and warm gel on the private parts. However silly, this was still thought-provoking stuff - Brigstocke had great fun mocking the sensibilities of his Radio 4 demographic, shivering at the frisson of a West Indian accent.
It was an effective lever to somewhere darker and altogether more affecting, as the evening developed into one of self-effacing rumination. Without a hint of clashing gears, Brigstocke took us through a time when, as he put it, too much cake was eaten. Still jaw-achingly funny (not a figure of speech - after two hours of grinning, my jaw really did ache) he was nevertheless able to touch on the surprisingly serious issue of self-loathing addiction, albeit wrapped up in an expertly delivered routine.
As someone who has seen Brigstocke countless times – he is practically compulsory viewing on the festival circuit – I really enjoyed this change of pace. We may not have seen the mask slipping, but I think we saw it deftly moved to one side.
By David Vass
Friday 24th October 2014