|Wed 28 Jan 8:00||Pride (15)||Cinema||Book/Details|
|Fri 30 Jan 8:00||Corn Hall Comedy Club||Comedy||Book/Details|
|Wed 04 Feb 8:00||Manuscripts Don't Burn (15)||Cinema||Book/Details|
|07 January to 31 January||British Abstract Printmakers - The Great Generations by Henry Moore, Barbara Hepworth, Howard Hodgkin, Bridget Riley etc||Details|
We wish all our customers a very Happy Christmas and New Year and thank you so much for your wonderful support and generosity!
Not only did we make our fundraising target of £100,000, we totally smashed it! In all, through your kindness, we have raised £125,000 - thank you Diss!
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
Treasure Island (National Theatre Live) - a review
While the National Theatre is capable of staging intimate drama, it is becoming increasingly known for its grand productions. Bryony Lavery’s adaptation of Treasure Island falls squarely in the latter category, with a theatrical experience that must have been jaw dropping live – on screen it is still an astonishing spectacle.
One moment the stage is occupied by a cross section of several decks of a schooner, the next we are in the midst of a belching, noxious swamp, before settling down beneath a canopy of stars. Aimed resolutely at a younger audience, Polly Findlay’s broad brush direction might ruffle the feathers of a few purists, but she manages to hit all the key notes of the source text, and there is fun to be had second guessing how Blind Pew, Ben Gunn, or Bill Bones are to be reimagined. A deliberately androgynous Jim is very well played by Patsy Ferran - one of many gender blind characters - while Arthur Darvill was a brave choice as the slippery Silver. If he sometimes gets upstaged by the radio controlled parrot on his shoulder, this underplayed pragmatist certainly offers up a different spin to the arch campness of Robert Newton.
The tone is at times uneven, and the narrative occasionally episodic but that is surely forgivable when account is taken of the commitment and ambition of this production. Genuine family shows are rarely performed on such an epic scale, and for that alone the National is to be applauded.
There is a second chance to see the production at the Corn Hall's 2pm matinee screening, Saturday 21 February.
By David Vass
Monday 26th January 2015
Finding Vivian Maier - a pre-screening review
John Maloof did just that, in a cardboard box, at an auction. Having bid blind for thousands of negatives he found he had also bought hundreds of rolls of unexposed film. His quiet obsession with the mysterious photographer responsible for the unforgettable images he uncovered is the subject of this film.
Clearly influenced by films such as Stories we Tell and The Imposter, Maloof’s fascinating documentary is a collage of interviews, archive footage, and the photographs themselves, artfully combined to slowly tease out this unique tale of a nanny with a camera. Those looking for an elegant story arc best look elsewhere - Vivian Maier’s story just gets stranger and stranger. What Maloof does do well is lay bare the fallible nature of memory, the contrary nature of human beings, and the sheer oddness of a life led that, even now, is frustratingly just beyond our field of vision.
Whether Maier’s work (or the film) is as extraordinary as her story is moot – and this backstory has certainly done her web based viral fame no harm. It’s one of many things that Maloof’s partial film skirts around (another is the morality of exploiting the work of a very private person). It’s to his credit that he allows these awkward questions to hang in the air, even if he never answers them.
Thursday 15th January 2015
Dawn of the Planet of the Apes - a pre-screening review
Back in the early seventies, we knew two things. The world was coming to a sticky end, and whether it was Soylent Green, or the Omega Man, or the mighty Planet of the Apes, the last man standing would probably be Charlton Heston. It’s hard to believe that before Star Wars infantilized science fiction, Hollywood so regularly examined such a gloomily dystopian theme.
Credit due, therefore, to Matt Reeves for staying true to his source material, producing a sequel to Rupert Wyatt’s Rise, but one which is heavily indebted to the original Conquest. The big difference, of course, is the production values and inevitably all eyes are on Andy Serkis’s brilliant motion capture work (though Toby Kebbel, as Cesar’s nemesis Koba, very nearly steals the film from him). Ironically, it’s the human characters that are less well drawn, with Gary Oldman particularly underused. Nonetheless, Reeves has delivered a handsome, big budget, action movie that doesn’t lose sight of the intimate charm of the first reboot.
Inevitably, there is a problem with a film with such a clearly mapped out arc (the clue is in the title) but while the destination may not be a surprise, Reeves makes a good fist of holding our attention throughout the journey. Brave enough to take his subject, and his audience, seriously he has produced a movie that is amazing to look at, exciting to watch, and with enough brains behind it to make you wonder where the franchise is going to next.
Saturday 10th January 2015