Communications, Drama and Film

What's on

Performances, workshops, events and seminars are shown on this page, where they're of interest to Drama students.

Please remember that coursework-related events may not appear until a week before the event, so please check back regularly.

Thu 23 Jan

Start time: 16:00
 

Tickets for students/staff: 50
Admission Free
End Time: 18:00

Masterclass: Music Journalism with Nick Reilly

Location: TS2  Alexander Building, Thornlea, New North Road, Postcode: EX4 4LA  Show on Map

Nick Reilly, Rolling Stone UK's News Editor and seasoned music journalist, will be returning to CDF to deliver a two-hour workshop that will cover his career pathway, the future of music journalism, how to pitch a story, and how to write critically about music.

During Nick's session last year, students wrote a music review for the up-and-coming band The Last Dinner Party... who are now one of the most successful bands in the country.

If you are interested in a career in journalism or simply a music lover who wants to hear more about what it is like to work in the industry, then you do not want to miss this exciting event!/p>

Read Nick's work for Rolling Stone UK here: https://www.rollingstone.com/author/nick-reilly/

Wed 26 Feb

Start time: 16:30
 

Admission Free
End Time: 18:00

Research Seminar: Keep singing, Orpheus: Decadent voiceworlds and utopian possibilities in Anaïs Mitchell’s Hadestown (2019)

Location: TS1  Alexander Building, Thornlea, New North Road, Postcode: EX4 4LA  Show on Map

In this presentation, I will introduce themes and ideas from my new book Singing Utopia: Voice in Musical Theatre (OUP, 2024). As the first long-form study of musical theatre voices from a cultural perspective, I will consider some of the key terms and frameworks introduced in the book through a close listening to the ‘voiceworlds’ in one primary case study—Anaïs Mitchell’s Hadestown (2019). Using utopian theory, musicological analysis, and four new approaches developed in Singing Utopia, we will examine the spaces, sonorities and social constructs of this folk-infused reimagining of the Orphic myth, listening to what voices do in their efforts to imagine, critique, and shape better worlds in the face of inevitable failure. The implicit tension between hope and loss is the very substance of Orpheus’s song and, I argue, the very thing that imbues musical theatre vocality with utopian possibility.

Reservations for in-person attendance and viewing the livestream will open on 6 January 2025.