Venue - Issue 284 - 7 May 2013

VENUE ISSUE 284

Will Cockram

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07.05.2013

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VENUE contents

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MUSIC

ARTS

FILM

public enemy at the lcr

the great gatsby ballet

top

Welcome everyone, to a new Venue. We hope you like what we’ve done with the place: a new section order, colour-coded review ratings, that kind of thing.

Looking ahead to September, expect a few developments regarding our our Venue-exclusive theme (throwback issue, anyone?)

As we write this column, the senior editorial team have staged a very special Union House lockin. It’s cooler than you think, but there’s no free bar, sadly.

The soundtrack has consisted of Kanye, Jay-Z, and Beyonce - otherwise known as the Holy Trinity of hip-hop and R&B. What with exams and essays, this handover issue has been one filled with chaos, confusion, but most importantly, creativity. One

of us feels more and more like Meryl Streep a la The Devil Wears Prada with each passing day (guess which).

With that in mind, we’d like to thank those from the old editorial team who helped make the transition as smooth as possible.

Props go out to our lovely new editorial team for getting stuck in with InDesign - we know how troublesome it can be.

If you’re reading this, it means you’re either soaking up some sun by the lake, or desperately procrastiating your way through the remainder of the exam period.

If you’re the latter, just know that we feel your pain.

Stay cute, Hayden and Ciara

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Editor-in-Chief | Sidonie Chaffer-Melley Venue Editors | Hayden East and Ciara Jack Music | Editors | Jack Enright and Alex Flood Music Contributors: Flo Evans, Jack Enright, Yasmin Hoy, Larson Campbell Fashion | Editors | Madz Abbasi and Ella Sharp Fashion Contributors: Shelley Hazlewood, Gemma Carter, Ella Sharp Arts | Editor | Callum Graham Arts Contributors: Caitlin McKeon, Jack Perkin, Tom King, Callum Graham, Hatty Farnham Creative Writing | Editor | Holly McDede Creative Writing Contributors: Daniel Delargy, Rachael Lum, Joanna Hollins Gaming | Editor | Alistair Walker Gaming Contributors: Alistair Walker, Oliver Balaan Television | Editor | Robert Drury Television Contributors: Jack C Parker, Matt Tidby, Reoghan Walsh Film | Editors | Holly Wade and Adam White Film Contributors: Fiona Grundy, James Britton, Jay Slayton-Joslin, Emma Holbrook, Adam White, Ha Nguyen, Myles Howard Competitions/Listings | Editor |Saul Holmes

Issue 284

MUSIC concrete.music@uea.ac.uk

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live review

public enemy uea, lcr 24.04.13 Flo Evans After 26 years, 84 tours and over 2000 shows, Public Enemy are not only still alive, but continuing to electrify audiences the world over. Last month saw the groundbreaking hip-hop group embark on yet another UK tour, a tour that (thank God) saw them make an appearance at the beloved LCR. This appearance had appeared in doubt as recently as the previous week, due to coverage in the press revealing that founding member Flavor Flav was to stand trial for two charges of assault. The fifty-four year old native New Yorker had been accused (in true

hip-hop fashion) of threatening his girlfriend’s son with a butcher’s knife and only escaped a court appearance by virtue of a lack of court evidence. Rule of law successfully evaded, Flava Flav was free to hit the LCR with all his customary free wheeling enthusisam.

The truth is, if you haven’t heard of Public Enemy, then I implore you come out from under that proverbial rock of yours and take steps to re-join society.

We’re all at it. They are part of the staple diet of music appreciation, a cornerstone of the iTunes library. The industry has given Public Enemy a few immortalising nods of approval by inducting them into all sorts of important sounding lists like ‘100 Greatest Artists of All Time’ and ‘Rock and Roll Hall of Fame.’

This was a bucket list sort of night.

Even you rock dwellers can appreciate the image of a fifty-four year old man, complete with the obligatory giant clock-necklace, throwing himself at force into a crowd of screaming

people. The immense energy put into this performance spoke of a passion unrivalled by many of his younger peer artists, their grace, constant interaction and appreciation for the crowd is something which should be taken note of and underlined many times. Nobody noticed, or even cared when they slipped out time, or ran off for water breaks.

The legacy this group has created was exemplified by one episode in particular. Spotted in the crowd was a technician from the library helpdesk - a man we have all been rescued by at one point at another. He is a humble sort of man with a seemingly endless selection of graphic t-shirts. Potentially he has opinions on things like snooker and Carol Vorderman. This, our hero, has saved many a student from a disastrous mid blue-screen error. Imagine this figure, in a state of true hysteria, grappling with his can of John Smith, swearing and shouting ‘aaaaaiiiiiiit’ in

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feigned New York trill whenever Chuck D so asked.

Pointedly, the message here is a universal one, and underlines Public Enemy’s legacy not just as artists, but activists too. Every song strives for positive change; whether it be for peace or racial equality. With talent, versatility, and great humour, Public Enemy opened their genre up to the world, becoming the first hip-hop group to achieve international acclaim.

Musically they were pioneers, collaborating with artists of different genres, and tapping into new fan-bases.

As Chuck D and Flav had the entire venue raising a middle finger to ‘racism, to segregation,’ and fists up for ‘peace, and unity’ one can’t help but wonder, when everyday more talentless swathes of TV contestants are propelled into international obscurity as holy sacrifice to vapid aspiration and ignorance, if music might again be used to actively change things, or to mean something.

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07.05.2013

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festival preview Jack Enright looks ahead to this summers festivals

After what feels like one of the longest, coldest winters in living memory, the days are finally getting longer, brighter and warmer - signs that can only mean one thing to a Venue reader; festival season is approaching.

Glastonbury, the long-reigning king of British festivals, has obviously got no intention of letting its crown slip after last year’s Olympic-induced hiatus.

Securing The Rolling Stones for their one and only UK festival appearance is a bit like when Real Madrid bought Cristiano Ronaldo for £80 million - it’s clear they mean business. But with weekend tickets long gone, we thought we’d have a look at festivals that might still appeal to the student punter.

Reading and Leeds Festivals, so long Britain’s premier rock weekend, are this year attempting to break out from that pigeonhole. The comparatively leftfield bookings of Eminem and Skrillex, coupled with

the newly unveiled Dance Stage have left the diehard fan-base grumbling however, and it remains to be seen whether the multi-genre rebranding will succeed. With tickets selling at upwards of £210, it’s an expensive gamble.

So long maligned as a festival incapable of pulling together a truly great line-up, Latitude has stepped up to the plate in a big way this year. Snagging Kraftwerk to top the bill is a huge coup for a festival of its size, while Foals and Bloc Party are hardly lightweight headliners either. At £190 it’s only slightly cheaper than Reading and Leeds, but with an arguably stronger line-up and fewer crowds it’s certainly worth a spin.

On the other end of the spectrum, T in the Park is looking like a bit of a car crash. While there are handfuls of interesting acts scattered across the bill (MS MR, Haim, DIIV), they are hopelessly overwhelmed by

a flood of disastrous bookings, Snoop Dogg and The Script being the most offensive perpetrators. With a weekend ticket coming in at just a tad under £200, it might be worth giving this one a miss this year.

The Isle of Wight’s Bestival is, as ever, a tempting prospect - but with a fairly ordinary line-up (with The Yeah Yeah Yeahs and Disclosure appearing to be the only real highlights) the £190 price tag and considerable travel difficulties might be enough to put you off.

Festival No.6 was a one of the surprise packages of last year’s calendar, and with the billing featuring James Blake, Manic Street Preachers and Everything Everything they could be set to repeat the trick. The location is definitely a factor here - set amidst the wonderful scenery of Portmeirion, Wales, and with tickets going for a reasonable £170, this could be the festival that takes the plaudits this year.

album reviews frank turner tape deck heart Yasmin Hoy

2012 was a huge year for FrankTurner by anyone’s standards: riding on the success of fourth album England Keep My Bones, he was handpicked by Danny Boyle to perform at the Olympics Opening Ceremony, but not before he had sold out Wembley Arena a few months beforehand. The pressure on his latest effort Tape Deck Heart to continue this success then was high, and it doesn’t disappoint.

If England Keep My Bones was a love letter to England, Tape Deck Heart

offers a much more personal insight into Turner; his heart is laid bare on this record, with the themes of loss of love and youth echoing strong throughout.

What Turner has done so brilliantly on this album, however, is to not to turn it into a collection of depressing love songs, but instead turn them into singalong anthems. Tracks such as Recovery and The Way I Tend To Be could easily have been written as simple ballads, but while still blunt and brutally honest, they’re fueled with optimism and catchy choruses.

Turner’s accompaniment band The Sleeping Souls are again on top form, but their presence is sadly missed when Turner goes solo. He also unfortunately slips into the occasional ballad on tracks like Anymore and The Fisher King Blues, which seem diminished in comparison when we’ve already seen that Turner is capable of so much more.

On the surface this album could be viewed as a simple break-up record, but peel back its exterior and you’ll find that it’s actually full of optimism, heart, and some of the best songwriting in rock. While Frank Turner is essentially sticking to the musical formula he concocted in England Keep My Bones, it’s lyrically where Tape Deck Heart stands apart, and shows that Turner’s talent as a songwriter and storyteller are second to none.

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phoenix bankrupt!

Larson Campbell

Phoenix are back following a long awaited return after their 2009 breakout album Wolfgang Amadeus Phoenix. The album and the universal success of the single, Lisztomania, propelled them into the mainstream music market and the band have received a loyal following since, headlining legendary music festival Coachella in the past month.

The new album, Bankrupt! follows a similar vein as the last. The French four piece have carried on the theme of the melodic vocals and heavy use of synths, yet while producing equally catchy and mainstream friendly songs.

The album is a safe venture for the band. However fans of previous records won’t be left disappointed. The album begins stronger than it ends, with the first four tracks Entertainment, The Real Thing, S.O.S in Bel Air and Trying to be Cool the stand out tracks from the record as a whole, all embodying the upbeat, summery vibe that the band is notorious for, while retaining their distinctiveness as individual songs.

However, as you delve deeper into the album some of the songs have a tendency to either try and incorporate too many tempo changes (title track, Bankrupt! is a prime example of such) or fall into the trap of all sounding a bit too similar, a prominent risk for a band with such a distinctive sound.

Bankrupt!, although far the most ambitious track from the record, falls flat, attempting to incorporate far too many elements, and feels quite unsettled and disjointed throughout the seven minutes until reaching the vocals five minutes in. Already devout fans of the band’s previous records won’t be left disappointed; new listeners might find the whole album ever so slightly repetitive.

Once passed off as The Strokes wannabes, Phoenix have upped the synths on this record and shown that they truly are carving their own niche of melodic indie-pop.

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FASHION concrete.fashion@uea.ac.uk

SMOKIN’ Return of the rugby club Go on boys!

Floppy sun hats

Your own portable shade

CHOKIN’ Dodgy summer fake tans

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less is more

Calling Models and Stylists!

Hi - your new editors here!

We’re looking to get as many people involved in the fashion section as possible.

A great way to get way to get involved if writing isn’t your thing is through styling or modelling. We’re keen to showcase all of UEA’s fashion talent so don’t hesitate! Email us at: concrete.fashion@uea.ac.uk Ella and Madz Fashion Editors 2013/14

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Shelley Hazlewood talks us through this summer’s minimalist trend.

Minimalism conjures up two images; either dull and boring or sophisticated and effortlessly stylish. Done in the right way people will think you have walked off of the streets of Paris and who knows, maybe you could give Victoria Beckham or Emma Stone a run for their money.

Dress for your figure: Find out which styles and cuts look good on you. The key to this trend is good fitting clothes - nothing too baggy or too tight. Think sleek, sharp lines and clean tailoring. It is all about looking like the clothes were made specifically for you. Adding a few sneaky stitches or darts yourself is a cheap and quick way of achieving this.

Create a wardrobe of basics: Once you have found your complementary styles and cuts, invest in a wardrobe of basic items that will carry you through

season on season. Classic cuts and clean lines will never go out of fashion.

Stick to a neutral palette and build on it: The standard minimalist uniform centres on a muted neutral palette - this doesn’t mean sticking to monochrome, unless you want to of course. Think black, white, grey, nudes and navy. All of these shades complimenting each other or providing a brilliant base to add that statement piece.

Neutral doesn’t mean boring: This palette is your base – mix and match fabrics to spice up the neutral palette. Go for gentle silks or lace, or be daring with leather. Let the fabric do the talking.

Don’t be afraid of colour: Adding colour splashes is key in this trend; whether it is through that neon belt or statement necklace. It is important to

remember less is more, stick to one stand out item in your outfit. Accessories will soon become your best friend.

Know your trends: Some trends never go out of fashion, whether it is those classic Breton stripes or pastels.

Opt for these trends in a classic cut – a pastel blazer is perfect for the spring.

For this seasons prints such as Aztec or florals pick them in an understated neutral colour, this will scream style and class.

It is not just clothes that make your outfit: Your hair and make-up will tie this whole look together. Go for a sleek ponytail or soft curls for a more girly look. Make up wise opt for a peachy blush or a matte bronze, lashings of mascara with nude or the classic pillar box red lips.

Remember, with this trend, less is always more!

back to summer

Gemma Carter talks us through her summer beauty essentials.

With summer just around the corner it’s time to update your make up bag with some summer essentials.

To guarantee you’ll be looking gorgeous and glowing all summer long here are some budget beauty necessities that will have you looking and feeling beautiful.

Galaxy computer animating Audrey Hepburn? No thanks.

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Tinted Moisturiser: The last thing you want this summer is a layer of foundation clogging up your pores and drying out your skin. Make sure you’re armed with a tinted moisturiser. This keeps your skin hydrated all summer long whilst gradually building up a natural sun kissed glow. As most of us are budget buying for our makeup bag try Soap and Glory’s Glow Job which has built in bronzing beads. There is also No.7 Triple Protection Tinted Moisturiser which has an SPF of 15 to keep your skin safe from sun damage.

Bronze eye palette: Less is always more in the summer so don’t overdo the eye make-up!

Blending bronze hues can make any eye colour stand out by highlighting and illuminating. Add a darker bronze shade t o the outer corner of your eyes whilst making the inner of your eyes the lightest part to create a bronze smokey effect; perfect for summer nights out!

Bourjois Smoky Eyes Eye Shadow in Mordore Chic gives

you three different shades to work with.

Nail varnish: Fresh and fun colours are vital for your nails this summer.

Summer classics are hot pinks and corals which instantly make a statement! Revlon have a great range of fruity nail varnishes this summer which are good enough to eat.

They’re scented and come in a variety of colours from the bright, vivid statements like Cherry Bonbon to the more subtle, relaxed pastels like Mint Gelato. Nail art is also big this summer with many celebs experimenting with floral and polka patterns painted onto their nails.

Staple lip colour: Everyone needs a lipstick in their makeup bag that can be used day and night. If you prefer a matte look lipstick try out different shades of pink and coral to find one that suits your skin tone. Pink and coral are great summer lip colours as they are subtle and natural – as long as you don’t go outrageously bright!

A good gloss is what you need for a night out this summer; try L’OREAL Glamshine Reflexion for a high gloss sparkling shine in seven summer ready shades!

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07.05.2013

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sun, sea and suitcases

Photographer: Jacob Roberts-Kendall Model and Stylist: Stepehnie Naulls

Stuck on holiday wardrobe choices ? Fear not!

Ella Sharp asked UEA students what they’re planning on taking away this summer.

Holly Wade, family holiday in Italy Holly’s packing coloured midi and patterned floaty summer dresses. Going for a sophisticated look Holly’s channelling chic for simple luxury. Playsuits are a staple in her suitcase, saving space and providing both day and evening looks – great for bikini cover ups and looking cute at that beach side restaurant. For lazy days on the beach Holly’s investing in a cute floral bikini, fun yet family resort friendly. Holly’s accessorising her outfits with a floppy hat for the Audrey Hepburn Roman Holiday look.

David Haigh, Outlook festival in Croatia For a hot and sticky festival, David’s suitcase essentials include a multitude of vests and shorts; cheaper items that he won’t mind getting muddy or lost in tent chaos. However, David’s keeping his look stylish with

sunglasses and snapbacks; both updating his festival style and providing much needed sun protection. Tying his fun and eclectic look together, David’s packing colourful and patterned summer shirts for attention grabbing outfits.

Alice Maynard, romantic retreat in Corfu Alice’s Greek get-a-way suitcase will be full of cute and flirty summer looks; from midi-dresses for gorgeous evening dinners to pretty camisoles and shorts to keep things casual during the day. Alice’s holiday looks will be accessorised with gladiator sandals, and for evening sophisticated wedges - practical but sexy. Her maxi skirts and dresses will add glamour and sophistication to this evening look. Cute patterned skirts will also be a suitcase essential, perfect for those days rambling around old Greek villages.

Anna Walker, InterRailing through France For Anna’s French adventure, her rucksack will be stuffed with light layers and playsuits. Practicality is key here; long train journeys might go from hot to cold and she’s packing for all eventualities. To keep her backpack light Anna will be taking versatile looks, easy for that day to night transition, such as denim shorts and crop tops. Heels are off the packing list, and flats and comfy walking shoes are on. Anna’s also investing in a cute bum bag – hate them if you must but 90’s accessories are in and keeping valuables safe in a foreign city is vital.

Four different holidays, four different suitcases. Go for effortless cool with lose clothing. Guys, don’t be afraid of a patterned summer shirt. Girls, keep it casual in those floaty dresses and skirts, and glam it up with midi dresses when the sun goes down.

ARTS

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arts ideas

arts news

the human nature of art Caitlin McKeon From the earliest cave paintings to contemporary street artists, the human race has exhibited its will to create.

The history of art journeys through individual efforts to exemplify the emotional and intangible realms of our reality.

Art in image, film, sculpture, literature, theatre, architecture and in any other form is communication. The subjectivity of art is to be found in what is being communicated. You may study art, define paradigms into which artworks belong, but intellectualising art can only ever add context. If we were capable of defining artworks definitively, then we would no longer discuss them.

Art is infinite and belongs to those who experience it. In the words of Mark Rothko “one does not paint for design students or historians but for human beings, and the reaction in human terms is the only thing that is really satisfactory to the artist.”

Art will exist in its limitless freedom as long as humans exist, for it is everywhere and for every one of us and not limited to academia.

As Frida Kahlo once said, “I [would] rather sit on the floor in the market

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DramaSoc named society of the year Jack Perkin

of Toluca and sell tortillas, than have anything to do with those ‘artistic’ bitches of Paris.”

Tom Abbot: Dot a Line Illustration, Portrait

UEA’s Drama Society was recently voted “Society of the Year” for 2013 at the Union Awards – an accolade which is undoubtedly well-deserved.

“We are delighted” said Gwen Hanauer, DramaSoc’s Publicity Officer, “as any society would be.” She added, “While we are grateful and truly humbled by the award, our members certainly deserve it.” This year, there have been more members than ever before in DramaSoc, which provides “theatrical opportunities to the widest range of people, while never making a sacrifice to quality.”

But while DramaSoc aims to attract “the widest range of people,” 2013 has been marked by productions that were equally eclectic; it has produced everything from William Shakespeare’s The Taming of the Shrew to the darkly humorous Reefer Madness, based on a 1936 anti-marijuana film of the same name. Reefer Madness was described by Rachael Lum in Concrete as, “a brilliant production…a Broadway experience at our very own university”. Indeed, the Drama Society’s productions this year have been consistently applauded by Concrete, including the notoriously challenging play 13 by Mike Bartlett, staged in February.

In addition to its six major productions during 2012-13 – which have included Punk

arts summer: thinking on the beats Tom King It was late on Monday night when I realised summer was truly here. The air was warm and the deadness of winter seemed very far away. The moon was round and bright and the full leaves on the trees were lit up.

This is a welcome feeling, and it seems to have immediately altered the mood of the student community. Life has begun to bloom again after the longest season of cold in years.

Appreciating this point in the year is important, as it represents growth and vivacity, and in art their importance is magnified. Art is simply a reflection of life itself, but the artist has the choice over which part to reflect. The beat writers knew this, and devoted themselves to reflecting light into areas where dark may otherwise have taken precedence. They represented

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that single point in which the flower bud bursts on a summer dawn, to keep people in that moment where colour and ecstasy explode onto the walls of your being.

Jack Kerouac led the movement with an unworldly zeal beginning with On the Road, the 1959 doctrine exploring his world and the people within it. He wrote hopping, exuberant spontaneous poems that swing like jazz and make your feet tap. He and Allen Ginsberg, a poet and original member of the movement, shared a rejoicing humility that has not since been replicated: delighting in modesty while rejecting the arbitrary. Ginsberg’ poems talk themselves off the page and into the world around you. William S. Burroughs, the last of the three principal beat writers, wrote of the chaos of downtrodden Times Square

and junk-fuelled societal underbellies. And lastly, Neal Cassady: the epitome of beat.

Despite publishing only a handful of poems, Cassady is a pure example of life as art – he was both the painter and the canvas.

Just as the earth needs sun to remain fresh and alive, so does literature. Good writers must accept that the originality and honesty of their work is its only measure of value, not sales figures. Their duty is to harness the absurdities of life and elucidate them, but the modern writer is growing worryingly tame. But I have faith in the cycle of seasons, and that a new group of writers will someday bring as big a burst of light as the beats did. So on this warm night as the sun goes down, I think of the beats. I think of their devotion to life, I think of the beats, I think of the beats…

Rock, Arthur Miller’s The Crucible, and the forthcoming Rope – the DramaSoc has also re-introduced Spotlight this year. Spotlight, held on 4th March, brought together around 50 students who wrote, acted in, and directed eight short plays in UEA’s LCR. It was, according to Ms. Hanauer, “a collective endeavour the whole society was proud of”. It also proved, of course, that DramaSoc is not only for actors, but for anybody interested in the production of plays, from beginning to end, on-stage and backstage.

For 2013-14, Chrissy McMahonm, the current Treasurer of DramaSoc, will take over as President of the Society. It is planned that Spotlight will not only be repeated but expanded, in addition to the traditional program of six plays throughout the year.

Ms. McMahon promises that, “We will be able to offer our members the chance to be part of some of the biggest celebrations the University has seen” for its 50th Anniversary.

However, it remains to be seen whether DramaSoc can replicate the achievements that have seen it named 2013’s “Society of the Year”.

From Wednesday 15 Friday 17 May, DramaSoc will present Rope by Patrick Hamilton. It will be their final major performance of this academic year - a year in which they have excelled.

US Gov: Jack Kerouac Naval Reserve Photo

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review

the highlights

The Great Gatsby

an editor’s thoughts

Northern Ballet Company Callum Graham Like most people, I first came across The Great Gatsby in high school. I’ve read it a few times since and am still always blownaway by the effortless poeticism that F. Scott Fitzgerald used to give his narrative such a delicate grace. Artistic Director of the Northern Ballet company, David Nixon, decided to adapt this acclaimed novel into a ballet saying, “Since becoming a choreographer I have often wanted to revisit this book and am thrilled that with the help and imagination of Patricia Doyle I have finally created my telling in dance of the great American novel.”

The production began with Nick Carraway (Giuliano Contandini) making his way to his new cottage in West Egg, Long Island. At first the combination twenties suits and ballet seemed strange, like a dog walking on two legs, or running into a lecturer in Kartel, but Contandini’s masterful athleticism quickly waylaid any doubts.

The set design was as stunning as it was clever, with towering grey movable slats shifting position throughout the ballet, allowing the stage to adopt the guise of Lexington Ave, Wilson’s Garage, Gatsby Mansion, Nick’s cottage and at least half a dozen more scenes. One of the most impressive set-pieces was in Gatsby’s Mansion, within a hall of mirrors. Here, Jay Gatsby (Tobias Batley) and Daisy Buchanan (Martha Leebolt) relive their pasts, dancing The Theatre Royal Norwich: Bill Cooper

Norwich and the arts

Hatty Farnham with shadowy counterparts playing their past selves, Michela Paolacci and Jeremy Curnier as Daisy and Gatsby respectively.

The two pairs kept time perfectly, allowing the synchronicity of their movements to describe the sad grandeur of their romance.

Tom Buchanan (Kenneth Tindall) became the figure of stern misogyny, his every movement an assertion of his male dominance, at times lifting Contandini from the stage in wonderfully choreographed acts of aggression. All eyes, though, fell on Jordan Baker (Hannah Bateman). Every time she danced the audience became entranced, her movement the subtle combination of apathy and seduction that she delivered with an effortless guile.

As well-crafted and visually stunning as the action on stage was, it was truly the music that set the tone for the dancers; led and directed by John Pryce Jones the Northern Ballet Sinfonia, including live vocalists, gave the ballet its piercing emotional depth. The score choices were excellent, and when dance itself wasn’t quite enough to tell the story, the music more than made up the difference.

The only things missing were the looming eyes of Doctor T.J. Eckleburg, whose hypnotic symbolism has interested critics since the book’s release. But in the end the audience made a fine substitute, every face glowing in the light of florescent jazz and endless decadence, enthralled spectators of this impressive production.

Flickr:Gerry Balding

Unexpectedly, perhaps, tucked away as it is in an Eastern corner of England, Norwich is a hub for the arts. Surrounded by fields, farms and all things Norfolk, Norwich is home to a plethora of literary and artistic enterprises and charities.

As part of his exhibition Where the Wild Things Are, sculptor Thomas Houseago visited UEA’s very own Sainsbury Centre of Visual Arts last year. As Arts editor, I was lucky enough to meet Houseago, and speaking of his sculpture, he explained that there was nothing more profound than putting ‘thought and energy into inert materials to give it truth and form’.

Houseago’s words struck me at the time, but it was only recently that I began to engage with the way that human creativity holds the potential to transform and invigorate not only words, materials and spaces, but communities and social structures as well.

Duringthepastyear, I have been privileged to work alongside creative organisations and witness exciting developments in the city’s artistic community. In May 2012, for example, Norwich became England’s first UNESCO city of Literature. The bid was put forward by the Writers’ Centre Norwich, a literary development agency which explores the power of community and creative writing through projects such as the Escalator Literature writing competition, the international City of Refuge Programme and Summer Reads schemes.

Since 2012, the SCVA has collaborated

with both the South Asian Decorative Arts and Crafts Collection and the Tate, who have loaned UEA’s art gallery Umberto Boccioni’s Unique Forms of Continuity in Space for the rest of the year. On campus we have also been lucky enough to celebrate, as part of UEA’s 50 year anniversary, the National Theatre of Scotland’s partnership with the city’s annual Norfolk and Norwich Festival. The theatre company’s awarding winning performance of Black Watch opened the festival as part of its national tour.

Stephen Fry famously claimed that ‘Norwich is a thriving, living city, a contemporary place, which has consistently moved ahead in its own distinctive, radical and independent way’, and indeed, with independent community arts projects, run by organisations such as Writer’s Centre Norwich, the Garage and the Norwich Arts Centre, it’s not difficult to see what Fry meant when bestowing such affectionate praise upon the city.

Sometimes Norwich appears a little detached from the outside world; with its cobbled lanes, traditional markets and medieval ruins, it can seem a little archaic, perhaps. But, as the UNESCO award demonstrates, the artistic community within Norwich understand that art, literature and music are for everybody, and have been harnessing the arts as a means of exciting and accessible education and community support for years.

CREATIVE WRITING concrete.creativewriting@uea.ac.uk

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comfort

& discomfort

A Moment in Serenity Daniel Delargy What is Serenity? The Oxford Dictionary labels it a noun, meaning “calm, peaceful, and untroubled; tranquil.” However, just because you can describe the word does not mean you can describe the feeling. The feeling varies from person to person… you could be a workaholic, finding peace in the depths of your work, or a layabout, who finds calm in doing nothing at all and being bothered by no one. Who can possibly define what brings a human being true peace?

Such were the thoughts of a lonely man, as he stared out across the open sea.

Out of the stuffy cities, in the middle of no-where, he could find his peace. Between land and sea, with not a soul in sight, he could find his serenity. Once a year, he would arrange to have a break from his schedule. Separate himself not just from work, but from the world.

Donegal, Ireland.

Here, the peak of technology was the portable radio. Here, the local shop was your independent newspaper dispenser, hardware store, outfitters and general green grocers all rolled into one. Here, life seemed so much simpler, and yet so much more sublime.

Tully Na Dall…yes, that was what it was called. He remembered how his mother had always placed a single flower beside the road sign. ‘For good luck’, she had said. It was always calm and quiet, with only the occasional vehicle driving past to procure supplies from the nearest general store or heading in search of a pint of the black stuff. Most of the houses were empty during his visits, even during the holidays. However, the small bungalow which the man had frequented over his lifetime had provided many pleasant experiences, and it was time like this he loved to reminisce about such innocent times.

When he was a child, he had been brought here with his parents and grandparents, who had originally bought the small building as a second home. In front of it lay a spectacular landscape - a scene filled with mountains, and a vast body of water and sky. The entire area radiated with its natural beauty, and there was hardly any evidence of civilisation here to spoil it. In fact the only real signs of human life here lay in the small docks down by the edge of the waters, where locals farmed sea salmon. He could recall the sight of the boats moving to and from that dock…the people working down there looking like small animated figurines from this height.

Watching the activities below could take up an entire day, luxury in its self.

He was usually taken on long walks, up mountains and across scenic valleys. He would even travel to the many beaches which lined the Irish coast nearby, such as the one he stood on now. Beneath his feet, the white strand stretching out from one cliff-top to another. As the wind blew, it picked up loose particles of sand, swirling like horizontal dust devils as it was carried away from the water’s edge. The sea itself churned as it charged towards the shore, the cold water rolling as if being carried by rampaging white horses.

The people changed, the houses changed, but nature continued to carry those iconic characteristics with it whenever he found it: wild, untameable and unchangeable.

Will Cockram

07.05.2013

Her Sweet Elegy: A *univocalic poem Rachael lum When she went, the sky wept.

The breeze blew by the speckled red, Drenched by sweet effervescence.

Elsewhere the restless creek bled.

Clergymen blessed her where she slept; Fresh greens sheltered her velvet bed.

Yet he knew she deserved better.

Swept by her spell, her mystery, He’d sketch her tender presence, Preserve her perfect symmetry, Keep every vehement letter She’d penned, brewed by her energy.

Regret rendered by the empty Pledge they’ll never keep.

Never free, he lets verses Remember her. The rhymes weep Dewy jewels when they Endlessly wed whenever they sleep. * An univocalic poem is a type of poem that uses only one vowel (ie: the letter “e”)

Body joanna hollins

He died with his arms out, nudged downstream by the current to the bank at the foot to the graveyard where local boys swam, belly-diving in and chasing away the geese.

(One of them found him.

He used a stick) When the police came to take him away, those arms - held up as if he was waiting to be pulled up, or just caressing the warm spring air wouldn’t go into the body bag.

We knew someone had to break those arms, but nobody wanted to touch him.

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www.concrete-online.co.uk

GAMING

concrete.gaming@uea.ac.uk

review: surgeon simulator 2013

Alistair Walker

Bossa Studios If you’ve been paying attention to YouTube recently, you’ll probably have noticed the hype surrounding PC game developers Bossa Studios’ latest release: Surgeon Simulator 2013. While this might sound like the latest in a series of mundane, overly detailed simulators such as the fast paced Crane Simulator 2009 and cheerful Tanker Truck

Simulator 2011, the reality is a different experience. If you’re after that kind of game, then this review is most certainly not going to please you.

You can tell a game is going to stand out from the crowd when the main menu consists of your character’s drugged up hand hovering almost drunkenly over your desk. To start with, it’s vital to spend a few minutes grasping the basics of the controls: use the mouse to move, tilt and lower the hand & wrist, and the keys to bend the fingers. While in practice this isn’t the most intuitive idea, making even coffee cups tricky to grip, that was always the developers’ intention; from the first surgical operation, a comparatively ‘straightforward’ heart transplant, to a ridiculous brain transplant in the back of an ambulance, Surgeon Simulator doesn’t exactly demand accuracy.

Given that from the word go you’re expected to saw away ribs and tear out organs using just one ungloved (and unskilled) hand, you’d be forgiven for assuming that not one developer from Bossa Studios has a degree in medicine.

Nor do you have to have one to play, and that’s the great thing. You don’t have

to worry about the risk of infection, or the fact that you’ve just choked your patient with his own intestines. With its unhindered, irrational gameplay, you could argue that Surgeon Simulator 2013 is the ‘hand’ on sequel to Theme Hospital.

Bossa Studios But it’s not a simulator. So what is it?

Well, it costs £6.99 in the Steam store, and it’s disappointing. You don’t actually get very much for your hard earned cash – in fact, you’re paying just over a pound

per operation (three in a theatre and three in an ambulance). Considering that you are limited to transplanting a heart, brain or pair of kidneys, the replayability value of this game is almost nil. Sure, there are Steam achievements and you can try and carry out an operation within a particular time or while losing the least amount of blood possible, but these don’t take away from the fact that the whole game should only take the typical player a couple of hours. It’s a cheap thrill (and the term ‘thrill’ is used loosely here).

It’s a shame that the madness of gamers’ YouTube videos can’t be conveyed in a review, as first looks at the game are hilarious; you just can’t wait to try it out for yourself. However, amusing as it may be, Surgeon Simulator 2013 looks unlikely to become the next must have PC title. On the other hand, with scope for future updates on Steam or even a full-fat release, there’s room for more bloodthirsty surgical malpractice yet.

In the meantime, try not to jab yourself with any needles or drop the drill into your poor patient’s open body, if you can help it.

review: the knife of dunwall Oliver Balaam A plague ridden fusion of gothic, British fin de siècle and brutalist scifi architecture, the city of Dunwall is a beautifully twisted sight that many will have missed since they last visited it in 2012’s Dishonored.

The first of two narrative driven downloadable expansions for the game, The Knife of Dunwall follows Daud, one of the original game’s central antagonists.

One might expect this narrative schism to detract from the game, burdening players with control over a dislikeable protagonist.

However, the game does a surprisingly solid job of establishing Daud’s feelings of guilt and genuine remorse, making a tragic anti-hero of what was originally a notably undeveloped character.

Thanks to a revised arsenal and some fine-tuned powers, Daud is actually a hell of a lot of fun to play as. The original game’s central traversal mechanic, Blink, allowed players to teleport a short range.

The idea was that they could elegantly zip through the Dickensian streets but

in practice, one wrong move resulted in a dangerous fall or a time consuming checkpoint restart. This problem has been fixed by making Daud’s version of the power freeze time, allowing players to look before they leap. Feathering the movement stick allows for minute adjustments mid-air, and this level of finesse is crucial, given that this expansion is considerably more demanding than the original game. I spent the first hour getting my butt kicked up, down and occasionally straight over the winding alleyways of Dunwall, but this challenge was infinitely preferable to a patronising retread of old scenarios. Indeed, while the star of Dishonored was undoubtedly its city, the game’s mechanics really come into their own here.

The focus on Daud’s enhanced playability isn’t to say that Dunwall takes a backseat in this expansion; divided into three acts, the first two of which explore brand new areas (a gruesome whaling factory and a tall-walled bourgeois

district), while the third reprises an area used in the first game. One realises just how central exploring the city as a whole, with its incidental dialogue and environmental stories is to the game when they are forced to retread through this disappointing final act. Here’s hoping that the game’s final expansion won’t make the same mistake.

Arkane Studios

Often resembling a painting in motion, The Knife of Dunwall is a beautiful, multifaceted and inventive expansion whose smart mechanical improvements and dedication to player empowerment shines through, even if its occasionally recycled environments detract a little from its lustre.

TELEVISION concrete.television@uea.ac.uk

www.concrete-online.co.uk

07.05.2013

review: broadchurch

11

crime drama phenomenon reaches dramatic conclusion Jack C. Parker Great Britain is thought of by many to hold possibly the best pool of acting talent in the world. If in any doubt, give ITV’s recent series Broadchurch a watch, and you will know for sure. This series has exceeded all expectations of critics and audiences up and down the country, as well as gaining phenomenal ratings of over nine and a half million for a single episode mid-series; a reassuring fact, as it proves that intelligent storytelling and deep character design still has a place in the mass market of British TV, and not just on BBC Four, in Danish.

Watching the first episode it is tempting to dislike the show, simply because of how praised it is by others. The only problem with cynicism is that the show just really is excellent. The series covers the whole of an investigation into the murder of a child in a small seaside town called Broadchurch, but it is far greater than simply just a clever ‘whodunit’ story. It is a detailed, emotional, and heartfelt glimpse into not just the life of a grieving family, but a town and their quirks, suspect behaviour, and twisted histories. In fact, the tension and

drama between characters almost makes the mystery virtually unimportant; like a tool used to force all the emotion into the air.

The eight part series, which will be released on DVD on the 20th of May, was riddled with red herrings creating genuine suspicion, allying the audience with D.I. Alec Hardy (David Tennant), D.S. Ellie Miller (Olivia Colman), and Beth Latimer (Jodie Whittaker) and the fact it saddled you in the seat of the police in their desperate search for the killer made the whole experience so much more enjoyable and enthralling.

Tennant has also proven through Broadchurch that he doesn’t have to shout and run and get very angry (as he did far too often on BBC’s Doctor Who all those years ago) to leave his impression on TV audiences. His sublime performance as a Detective with an awful history that both drives him and is killing him at the same time would leave anyone feeling nothing but sympathy and pain for the Investigator. There are moments through the series where 45 minutes may arguably

seem too long, but it all feels rewarding and griping again literally moments later.

ITV have announced that series two begins production in 2014, after the initial series was such a success. It is unconfirmed whether or not any characters shall

reappear, but with the first series’ casting being so sensational, it would be safe to presume ITV will try their utmost to match, if not improve upon the standard which has already been set. Viva British Drama!

VICIOUS

SWEAT THE SMALL STUFF

Matt Tidby

Reoghan Walsh

After the incredible success of Broadchurch, ITV have launched a new Monday night vehicle that they’ve so much faith in that they’d commissioned a Christmas special before the first episode had even aired.

Indeed, on paper, Vicious would seem to be destined for plaudits – a studio sitcom (how zeitgeist-y!) populated with acting royalty, led by Ian McKellen and Derek Jacobi as warring gay couple Freddie and Stuart, and written by Gary Janetti of Family Guy and Will and Grace success. What could possibly go wrong, hmm?

As it transpired from the first episode, almost everything. Vicious is awful; beamed direct from a dystopian parallel universe where rape jokes and broad panto-esque effeminacy are greeted with the sinister canned laughter of approval, it features two of Britain’s finest actors camping their way

through a thoughtless and unsubtle mess of a script where the fact that Freddie and Stuart are gay isn’t just a detail, but their entire character.

McKellen and Jacobi, ably assisted by the wonderful Frances de la Tour (The History Boys) and Iwan Rheon (Misfits), do bring some fun out of the script, enough to give some of the gags a gravitas they don’t deserve. Alas, it’s not enough to save it.

Sadly, watching Vicious is an incredibly uncomfortable experience; it attempts to be both of its contemporary progenitors simultaneously and, as such, gets hopelessly lost. By aping Miranda in its quaintness and Mrs. Brown’s Boys in its swear-y ‘edginess’, it’s like an austere, respected grandparent saying ‘fuck’ during Sunday lunch – uncomfortable, awkward but surprisingly watchable.

New this month to BBC Three comes a panel show advertised as focusing on ‘life’s little worries’ hosted by Radio One Breakfast DJ, Nick Grimshaw. The show also features Kiss FM’s Rickie and Melvin (clearly radio is the new talent pool for panel shows) and Rochelle Humes of The Saturdays.

Sweat the Small Stuff basically does what it says on the tin; it consists of rounds where the panel have to answer questions entirely based on the obscure, the meaningless, and the small stuff of life. This week’s episode managed to create a round off the back of a tiny article about Snapchat.

In terms of panel shows, Sweat the Small Stuff fits to all the criteria; quirky

comedic host, check; copious amounts of banter, check; D-list guests that no one has heard of (but always including a comedian), check. It has it all, but does nothing new with it. Sweat the Small Stuff is simply yet another panel show with comedic intentions; there is nothing innovative or exciting about it and its check list of panel show necessities make it bland and boring.

Unlike Never Mind the Buzzcocks or Have I Got News for You, there is nothing clever about the show and it mostly allows you to softly chuckle rather than roar with laughter. While Nick Grimshaw has his moments and proves a decent host, he is the only saving grace. While BBC Three has high hopes for Sweat the Small stuff, this viewer unfortunately does not.

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07.05.2013

FILM

www.concrete-online.co.uk

concrete.film@uea.ac.uk

Concrete’s Top 5 Marvel Movies 01 X-Men: First Class (2011, Matthew Vaughn) The swinging sixties, intriguing new mutants and Michael Fassbender being badass!

02 The Avengers (2012, Joss Whedon) The superpowered team-up that captured the world, and who knew the Hulk could be funny?

03 Spider-Man 2 (2004, Sam Raimi) With the origin story out of the way, this sequel delved deeper into the Spidey psyche.

04 X2 (2003, Bryan Singer) A vibrant and exciting mutant-as-metaphor action adventure.

05 Iron Man (2008, Jon Favreau) Robert Downey Jr. brings his trademark slick charm to the Marvel universe.

IRON MAN 3 Director Shane Black Starring Robert Downey Jr., Gwyneth Paltrow, Ben Kingsley, Don Cheadle 12A, 130mins

Fiona Grundy Three years since Iron Man 2 left fans a little disappointed, unfazed and still asking questions, Iron Man is back in the latest instalment of Marvel’s most bankable superhero trilogy, with a new director, new suit and a new villain to boot.

Luckily it does not disappoint, bringing an interesting and deeper exploration of Tony Stark’s character whilst still providing the laughs, explosions and drama that has given the Iron Man franchise such a large and devoted fan base.

Iron Man 3 opens with Robert Downey Jr.’s titular superhero still trying to recover from the events of The Avengers, attempting to adapt his Iron Man armour to his new knowledge of alien threats, Norse gods and other worlds. When Ben Kingsley’s Mandarin threatens war against America, Stark is left under attack and has to revert back to basics with just his brains and his suit to try and protect those who are close to him.

Iron Man 3 should be regarded as more of a sequel to The Avengers than the previous two Iron Man instalments, being able to focus on Stark rather than setting up events for other Marvel films. This can largely be attributed to input from new writer and director Shane Black, who takes over from Jon Favreau, the series’ initial creator (and Stark’s bodyguard, Happy).

Having previously collaborated with Downey Jr. on Kiss Kiss Bang Bang, Black brings his trademark sharp tongue and sassy wit to the script, particularly in the snappy opening monologue. However, the film also takes the opportunity to explore Stark’s character, balancing his emotional relationship with Pepper Potts (Paltrow) alongside the high-paced action, creating a perfect balance to keep the audience intrigued and entertained.

Pitched alongside young Harley (Ty

Simpkins), who helps Stark pull himself together, the pair make for an amusing double act, providing most of the film’s big laughs. In addition, it is interesting to see Pepper getting a larger role in the film’s action sequences, adding a hint of girl power rather than being the eternal damsel in distress. Meanwhile, Kingsley proves dangerous and erratic, offering a substantial threat that creates much of the film’s shocks and twists.

Iron Man 3 is a pleasant return to the franchise after its disappointing second instalment, with the great balance of humour and action that we have come to expect. Black is a successful addition to the Iron Man legacy, and despite rumours that this could be the final instalment, it would be a shame to put to rest such a well-loved, fan-pleasing character as Tony Stark. This is a must-see, and don’t forget to stick around for the end of the credits.

the spectre of Partridge but his confidence and affability lend themselves to an engaging performance that carries the film through its rougher patches. The supporting cast are also adept, Tamsin Egerton making the most of a somewhat underwritten role and finding a charisma and lightness in keeping with the tone of the first half.

Imogen Poots is impressive as Debbie Raymond, a character that could easily come off as nothing more than a spoilt rich girl gone bad, but is instead a reflection of Paul’s various excesses, all of which paint him in a harsh light. The aforementioned

cameos are a mixed bag; while the performances are decent it is hard not to be distracted by Stephen Fry popping up as a barrister or David Walliams as a vicar who acts as confidant to the girls in Raymond’s clubs, a potentially interesting character who lacks enough context for the audience to sufficiently believe in.

Unfortunately the film is hindered by its structure - the framing device involving the elderly Paul Raymond is completely pointless, and the messy editing and lack of context make it difficult to follow any sense of chronology or progression

through history. The pacing is also a problem, as the free-wheeling second act, while enjoyable enough, offers little more than a string of montages and money shots of cocaine and naked models, a move which hurts the films climax. When the dark dramatic beats hit, they are either rushed over or, in one particularly egregious example, trivialised completely.

Whilst entertaining, The Look of Love feels like a missed opportunity for a real character study, the lightweight tone providing little insight for those not already Chloe Hashemi acquainted with Paul Raymond’s story.

THE LOOK OF LOVE Director Michael Winterbottom Starring Steve Coogan, Anna Friel, Imogen Poots, Tamsin Egerton 18, 101mins

James Britton Steven Coogan and Michael Winterbottom’s fourth collaboration can be seen as a companion piece to 2002’s 24 Hour Party People; an unconventional biopic of a maverick who became a giant in his field, boasting a raft of British comedy favourites in cameo roles. The Look of Love focuses on Paul Raymond, who dominated the adult entertainment industry for three decades and whose shrewd property investments made him Britain’s richest man. The film portrays his rise to power, not shying away from the hedonism seemingly integral to these stories, whilst also exploring his personal life, in particular his relationship with his daughter Debbie.

Taken at face value the film is an entertaining, occasionally funny ride; Coogan is seemingly doomed to never escape

FILM

concrete.film@uea.ac.uk

www.concrete-online.co.uk

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coming to a theatre near you...

Some of our film correspondents have thrown together a list of upcoming releases guaranteed to suit all tastes the big ones Emma Holbook If blockbusters float your boat, then Star Trek: Into Darkness (May 9) should be right up your street.

The follow-up to the remarkably successful reboot of the franchise has already wowed critics in previews, J.J. Abrams’ trademark lens flare reprising its starring role as we re-join Captain Kirk & Co. for an interstellar ride on the USS Enterprise.

There is also Baz Luhrmann’s extravagant take on The Great Gatsby (May 13), assured to be an awe-inspiring visual spectacle when it opens in Cannes later this month. Luhrmann’s favourite trope of starcrossed lovers could potentially overshadow the nuance of the source material, but the

the cartoons Adam White accompanying soundtrack is something special. Deeper into summer, forget the Dark Knight, it’s all about the Man in Tights. Man of Steel (June 14) boasts a starstudded cast, a thrilling origin story and eyeboggling special effects, but it’s Superman’s capacity for hope that sets him apart. If it’s even half as good as the trailer, it won’t be a disappointment.

When aliens invade Earth in Pacific Rim (July 12), humans pilot colossal robots to fight back. Chaos ensues. Whilst Pacific Rim could easily be renamed ‘Transformers vs.

Godzilla’, with Guillermo Del Toro at the helm it promises to be a fresh and fascinating take on the alien invasion narrative.

the alternatives Ha Nguyen Aside from the obvious blockbusters, summer also allows time for hidden gems and indie darlings. Vampire drama Byzantium (May 31), starring Gemma Arterton and Saoirse Ronan and directed

by Interview with the Vampire’s Neil Jordan, explores a complicated motherdaughter relationship seeped with a lust for blood.

Then there’s Joss Whedon’s venture into Shakespearean comedy with Much Ado About Nothing (June 14). Much is expected of this feature, filmed under the radar and developed under a strict ‘don’t ask, don’t tell’ rule.

Before Midnight (June 21) is Richard Linklater’s wrap-up to the love trilogy of Jesse and Celine, their story already

You can’t swing a cat during the summer without hitting yet another sequel or adaptation that nobody particularly asked for. In recent years, however, animation has been one of the last vestiges of mainstream originality. Something as wildly innovative as Up for example, is unlikely to have gotten off the ground as a big-budget live-action piece.

So it’s disappointing to report that sequel-itis has infected most major animated films this summer. Monsters University (July 12) has Pixar pedigree, but it can’t disguise the musk of studio regression. The same goes for the Cars spin-off Planes (August 16), originally

intended for a direct-to-DVD release – if that tells you anything.

Other sequels include Despicable Me 2 (June 28), which looks fun, and The Smurfs 2 (July 31), which is something that exists. Original offerings include the Ghibli anime From Up on Poppy Hill (August 2), set during the 1964 Tokyo Olympics, and Epic (May 22), which boasts what is surely this summer’s oddest cast: Where else would you find the likes of Christoph Waltz, Steven Tyler, Chris O’Dowd and Beyoncé all bouncing their vocals off one another?

Although there might be a reason for that...

the comedies Myles Howard chronicled in Before Sunrise and Before Sunset. Set in sunny Greece, the film might just want you longing for the real deal and booking the next flight abroad.

Turning up the heat, Sofia Coppola’s The Bling Ring (July 5) is a daring biopic of a group of teenagers-turnedcriminals, one played by Emma Watson, with a peculiar preference for their victims.

Nearing the end of summer an action epic awaits with Hammer of the Gods (July 5), directed by Farren Blackburn.

Set in an ancient Norse world, this highconcept film tells of the transformation of a man to a warrior as he searches for his brother. Brutal violence and stylised landscape are promised.

It’s 2013. The apocalypse didn’t happen in 2012, so this summer we see the comedy community’s answer to the end of days in the form of two films to really look out for.

Firstly we see the writers of Superbad and Pineapple Express, Evan Goldberg and Seth Rogen, team up again for This Is The End (June 28), Rogen leading a hilarious ensemble cast that also includes James Franco, Jonah Hill and Emma Watson, all portraying themselves.

Soon after we’ll see the finale of the ‘Three Flavours Cornetto’ trilogy from Simon Pegg and Nick Frost, the pair embarking on one hell of a pub crawl in the similarly apocalyptic The World’s End (July 19).They obviously have a tough job in eplicating the hilarity of Shaun of the Dead

and Hot Fuzz, but hopefully The World’s End will more than live up to expectations.

Additionally there’s the return of the Wolf-Pack to look forward to in The Hangover Part III (May 24), along with a number of charming coming-of-age US comedies including The Kings of Summer (July) and The Way, Way Back (August), the latter from Oscar-winning writers of The Descendants, Nat Faxon and Jim Rash, and featuring Sam Rockwell and Steve Carell.

We also see follow-ups to 2010’s Grown Ups (August 9), again starring Adam Sandler and Chris Rock; and actioncomedy RED (August 2), with Bruce Willis, Helen Mirren and John Malkovich all reprising their roles.

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LISTINGS

www.concrete-online.co.uk

7 may

concrete.listings@uea.ac.uk

- 20 june

live music 8 May Under The Influence + Let Us Proceed + Settle For Second + Differential 7:30pm The Waterfront Studio Price £6

15 May The Fall w/ There's Someone In The Pond 7:30 pm The Waterfront £18

9 May

18 May Benjamin Francis Leftwich w/ Lewis Watson and Sivu 6:30pm The Waterfront Price £12

Woody Pines 8pm Norwich Arts Centre Price £8 - £10

10 May The Zombies featuring Colin Blunstone and Rod Argent 7pm OPEN Price £16 11 May Dressed To Kill + Surreal Panther + The Fuel Girls presented by Metal Lust 6:30pm The Waterfront Price £12

19 May The Skints w/ Current Swell and Gecko 7pm The Waterfront Price £11 20 May Skaters 7:30pm The Waterfront Price £6.50

Lucy Rose 7:30pm The Waterfront Price £12 Senses Fail w/ Marmozets 7:30pm The Waterfront Price £10 Wolf Alice 8pm Norwich Arts Centre Price £6

Club Retro LCR 10pm UEA LCR Price £3.50 A-List 10:30pm UEA LCR Price £3.50 Chavs and Emos LCR 10pm UEA LCR Price £3.50

11 May

14 May

18 May

21 May

End of the World LCR 10pm UEA LCR Price £3.50 Official End of Term Party 10pm UEA LCR Price £12.50 Last Chance LCR 10:30pm UEA LCR Price £4.50

30 May

Beardyman 7:30pm The Waterfront Price £13.50 Sub Focus 8pm UEA LCR Price £10 - £12

4 June

7 June

15 June Blondie w/ The Lightning Seeds 6pm Thetford Forest Price £36 Matt Corby 8pm Norwich Arts Centre Price £8

20 June

comedy 28 May

31 May

Mark Steel's in Town 8pm The Playhouse Price £15 Red Card Comedy Club 8:45pm Red Card Comedy Club Price £12

7 May

30 May

4-5 June Jason Manford: Work in Progress 7:30pm The Playhouse Price £12.50 Bridget Christie: A Bic for Her 8pm The Playhouse Price £10

14 June

1 June

uea 50th anniversary showcase week 2 June Science Outreach in Norwich Day 9am The Forum, Millenium Plain FREE UEA Public Lectures 10am The Forum, Millenium Plain FREE

Will Cockram

29 May

1 June Bare Feet Records Summer Showcase 8pm Norwich Arts Centre Price £5

club nights A-List 10:30pm UEA LCR Price £4.50

22 May

3-4 June

Union in the City 9am The Forum, Millenium Plain FREE

5 June

6 June Postgraduate Research Showcase 9am The Forum, Millenium Plain FREE

PUZZLES concrete.competitions@uea.ac.uk

www.concrete-online.co.uk

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07.05.2013

the venue crossword across 1. Norwich club formerly called Project. (10) 4. Castle is Northumberland. (8) 5. Type of food also called bean curd. (4) 6. Patron saint of England. (6) 7. School of Buddhism. (3) 9. Breed of dog and name of an extinct language. (9) 10. Large flightless bird. (7) 12. To yearn. (6) 14. Greek god of war. (4) 15. Cover up. (4) 16. Member of Scottish gentry. (5)

down 2. Chancellor of the Exchequer. (7) 3. Indian Premier League team based in Delhi. (10) 8. The Scottish play. (7) 11. Norfolk tribe led by Boudica. (5) 13. Finnish phone makers. (5)

the venue sudoku

easy

medium

hard

VENUE Will Cockram