today my
fictional debut CD
is called:

Gah Gah Gah
Gah Gah



featuring the
hit single:

I Added an "H",
Spoon
(you can't sue me
remix)


blog de
Dan Trujillo
(a playwright)
serving
continental breakfast


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SHORT FILMS:

the rookie
the homunculus


The Rita &
Burton Goldberg
Dept of Dramatic
Plugging

presents:

a workshop of
EARLY POE
by Dan Trujillo

directed by
Charles Metten

Death, mystery,
disease, insanity,
blood, poetry:
Poe's turned
thirteen.


Aug 16, 17, 30
2007

part of the
New American
Playwrights Project
@ the Utah
Shakespearean
Festival
Cedar City, UT

for tickets:
click here



OREGON
LITERARY
REVIEW


featuring
THE DOG
by Dan Trujillo

an online
collection of
literature,
hypertext,
art, music,
and hypermedia


click here
to read









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all material copyright 2007 Dan Trujillo. All rights reserved.

 

 

 


Friday, April 22, 2005

 
No Matter Where You Go, There You Are
(My three year-old daughter Ruby and I sit on the couch, watching "Sesame Street".)

RUBY:
When people die, they come back as a baby.

ME:
So you died, and came back as a baby?

RUBY:
Yes.

ME:
Who were you before you died?

RUBY:
(thinks, then:) Ruby.



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My God, I Think I Understand This
Slow Children: theatre weenieness ahead. For those who care not for that road, I give you this. (h/t Adam)

Everyone I spoke to said Bill Irwin wasn't up to the part of George. Poor Mr. Noodle. And yet, I still wanted to see Who's Afraid of Virginia Woolf, because I've only seen the movie. It's effective, but the realism of the medium strikes some dissonant chords with Albee's New Carthage, a college town that masquerades as a naturalistic environment. Must be seen on the stage, as retrogrades like myself intone. (Yeah, yeah, Taylor and Burton are great, okay?!)

Don't believe the critics on Irwin's performance. I find myself agreeing with Ben Brantley...[shudder]. Irwin's twitching, milquetoast performance lends credence to Martha's quip, "If you existed, I'd divorce you." When he unleashes his nuclear option in the final third of the play, it's not "out of character," it's the backbone that Martha speaks of and Nick demeans. It's always out of character when the nerdy guy turns around and throttles you. But you sound like a twit for uttering the phrase "I don't believe it" as the oxygen leaves your brain...

It's Richard Burton's performance that's the problem. Second to A Streetcar Named Desire, I don't think there are perceptions of stage characters as cemented in my consciousness as Taylor and Burton's are in Woolf. But Burton's the emasculated bull in that film, and that's my problem with his interpretation. Watching it, I always feel that at any moment he can throw off those glasses, tie on his cape, and rescue Lois from the clutches of Luthor. His brutality is no surprise. With Irwin, it's a stiff shot.

And I'd just like to say that accompanying my tipsy playwright friend Molly down from the balcony was the highlight of my week.



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