It was four years ago . . .

Greetings, Pinky fans . . . and happy anniversary!

It’s hard to believe, but four years ago, March 9-11, 2012, ‘Pinky’ had its official opening weekend at Main Stage West in Sebastopol. That was with original cast members Liz Jahren and David Templeton as Pinky and David, and with Sheri Lee Miller directing the show, April George designing the lights, and Lauren Heney stage managing.

Since then, Pinky has had a run at 6th Street Playhouse, in the summer of 2012, and another run in the summer of 2014, at Barnyard Theater in Davis, directed by Maddy Ryan.

And now, I am happy to announce that ‘Pinky’ will return to the stage this fall in a new production in Marin County. More on that shortly.

The original Team Pinky has done a lot, individually and occasionally working with since that first run four years ago. Sheri has directed nearly a dozen more shows (including Cinnabar’s ‘La Cage Aux Folles, for which she was given a Best Director award by the San Francisco Bay Area Theater Critics Circle, and last year’s ‘Arcadia,’ also at Cinnabar, for which she has been nominated for a Circle Award again). Liz has appeared in several shows, including the world premiere of Rob Caisley’s ‘Happy’ at 6th Street Playhouse. April has been designing lights for numerous companies across the Bay Area, and Lauren has helmed a number of shows, and has appeared onstage herself in Main Stage West’s ‘This is Our Youth.’

Since Pinky, David has written a number of new plays (including ‘Polar Bears,’ which debuted last December at MSW, and has written a novella titled ‘Mary Shelley’s Body,’ which will be published by Word Horde Books this October in an anthology titled ‘Eternal Frankenstein.’

For David and Sheri (and members of Team Wretch) there was even a trip to Scotland for the Edinburgh Fringe Festival, where David’s ‘Wretch Like Me’ had fourteen performances at the historic Surgeon’s Hall.

In other words, Team Pinky has stayed busy.

But the show that brought us together has never been too far from our hearts, it is safe to say, so it’s exciting to know that the story of David and his crazy quest to win the heart of Pinky will be given new life this fall, in a production to be staged by Marin Onstage, with Carl Jordan directing.

Details of the exact run dates will be announced here when they are available.

Till then, here’s hoping this message gives you good memories and happy thoughts, and perhaps inspires you to tell someone special that you love them. And if you’re really feeling the Pinky vibe, try telling them in Pig Latin.



What’s up with ‘Pinky’ (these days)?


Barnyard Theater’s summer production of ‘Pinky’ resulted in sold-out performances and an extension.

This March marks the three year anniversary of the premiere of ‘Pinky,’ and as it’s been a while since I posted anything on this blog, it seems like a good time to bring any fans of that play up to date on what’s become it, and its playwright (that would be me), over the last few years.

The short version: the debut of ‘Pinky,’ at Main Stage West, was followed later that year by another full run at 6th Street Playhouse in Santa Rosa. I then put my energies into other projects: an adaptation of ‘The Little Prince,’ which was a wonderful exercise for me, though ultimately disappointing as we were not able to get the American rights to do my version on stage. Someday, I hope it can happen, and till then, I am looking at other options.

Since then, I’ve written another one-man-show, titled ‘Polar Bears: A Story of Fatherhood, Death, and Santa Claus,’ which had a public reading in July 2014, and is scheduled for its world premiere in November of 2015, at Main Stage West. The script is complete, and we will likely begin production on it in October or so.

My original one-man-show, ‘Wretch Like Me,’ has had many, many performances over the last few years, and was completely re-written and then re-directed (by my ‘Pinky’ collaborator Sheri Lee Miller), and that’s the version that we took to the Edinburgh Fringe Festival in August of 2014. That was an amazing experience, and you can read all about that, and more about that show, on my companion blog at

ED - Team Wretch

Team Wretch in Scotland, where ‘Wretch Like Me’ was performed 14 times at the Edinburgh Fringe Festival.

While Team Wretch was in Scotland, ‘Pinky’ had another run (without myself or the other two original Pinkys), staged by Barnyard Theater, in Davis, California. Directed by Maddy Ryan, this version took a different approach, casting a troupe of teenage actors as all of the secondary roles, with Pinky and David stepping into actual conversation with their friends. The production was reportedly a huge success, with sold-out houses and an extension, so that’s extremely gratifying to hear.

It’s my intention to prepare ‘Pinky’ for more such performances in the future, and I also intend to submit the script for publication this year. That would be a big step in getting this story out into the world. At the moment, though I have no immediate plans to re-stage ‘Pinky’ with myself playing David, I am open to the possibility. Mainly, I just want to get the script out there for other companies to tackle, bringing their own vision to my semi-autobiographical tale.

Check back here for news about such performances, and my other playwriting activities. Your enthusiasm for ‘Pinky’ and my other plays is, as always, greatly appreciated. However you spend your new year, may you remember to take a tip from Pinky and David, and always follow your heart, because it often knows more than we do, even if it takes a while to figure things out.

Wretch Like Me — The Road to Edinburgh

From archival footage of David as a puppet-loving youth, through his days as a teenage evangelical puppeteer and on to become the writer of ‘Wretch Like Me,’ this video gives some background on his childhood, why he wrote his award-winning one-man-show, and why he wants to take it to the Edinburgh Fringe Festival.

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A Return to ‘Wretch’

David Templeton at work—After a couple of years away from 'Pinky,' David gives an update or two, and talks about his new adventure as playwright-performer: a trip to the Edinburgh Fringe Festival.

David Templeton at work—After a couple of years away from ‘Pinky,’ David gives an update or two, and talks about his new adventure as playwright-performer: a trip to the Edinburgh Fringe Festival.

It’s been a while since I posted anything new on the PinkythePlay blog, for the very understandable reason that . . . there have been no new performances of ‘Pinky’ since the last one at 6th Street Playhouse. (By the way, the anniversary of the premiere of ‘Pinky,’ at Main Stage West, took place just a few weeks ago!). In regards to ‘Pinky,’ the main thing I have to report is that Barnyard Theater, in Davis, gave ‘Pinky’ an informal reading a couple of months ago, and is considering adding a run of the show to it’s season of summertime productions. I will post more information about this in the near future.

Meanwhile, my most exciting news is about something not new. My award-winning one-man-show ‘Wretch Like Me,’ which debuted in 2009, is back, in a stripped-down version that has been re-written, cut down to a slick, fast 75-minutes, and is getting ready to make its International debut at the Edinburgh Fringe Festival in Scotland. Yes, my autobiographical show about my days as a fundamentalist teenage puppeteer (and how I was saved from being saved) is finally going across the Atlantic Ocean.

Last week, I launched a brand new website with information about the show, and a list of upcoming performances, including all of my dates in Edinburgh.

Find that site at

This week, I launched a new Indiegogo crowd funding site, aimed at raising the remaining bucks I need to take the show across the pond. Details about the trip, what Edinburgh means to the future of ‘Wretch Like Me,’ and a bunch of other fun things (including an awesome couple of short documentary videos, can be found on the Indiegogo site. I encourage you to visit, even if you know you are unable to contribute financially. Merely by clicking on the site, you help me, because the more people who visit, the more likely the campaign is to be featured more prominently on Indiegogo. So check it out (that’s worth a point of two in increasing my togo-factor), leave a comments (another few points), link to the site on your face book page (more points), and get others to visit the page too. And who knows, maybe you will want to donate a couple of bucks. No donation is too small, and all donations are tax-deductible, because ‘Wretch’ is sponsored by a cool North Bay theater company, Actors Basement, which is a certified charitable organization. Just visit the page, and spread the word—it’s a small thing with potentially huge repercutions.


And in the next few days, I’ll be launching a BRAND NEW blogsite dedicated to ‘Wretch Like Me,’ intended to reveal the inside story of what it’s like to bring this show back, and to take it to Edinburgh. I’ll be blogging all the way through the next few months of performances, and through to the adventure of being IN Scotland, performing this show to an international audience. I hope you will continue to follow me into this new phase. Until such time as I bring ‘Pinky’ back, or have something to report about other productions at theater companies near you, ‘Wretch Like Me’ will be the primary artistic focus in my roller coaster car. I hope you will continue to tag along on the ride.


New Beginnings

Tonight is a significant ‘Pinky’-themed anniversary. One night ago, Pinky, the play, concluded its initial run at Main Stage West theater, in Sebastopol. It was quite a night, and people still stop to tell me they were there. Our original actress to play Pinky, Liz Jahren, had to leave the show due to a death in the family, and for the final three sold-out performances, director Sheri Lee Miller stepped in, script in had, to finish the run.

It was terrifying.

And tremendous fun. And the audiences—many of whom were there because they’d heard about Liz’s wonderful performance in the part—were charmed and dazzled by Sheri, boldly leaping in and making them all forget she was holding a script.

And that was the end. Until August, of course, when ‘Pinky’ was reborn, with Liz again in the show, for another ten wonderful performances at the 6th Street Playhouse studio in Santa Rosa.

And then it was over. Again.

Since August, I’ve lost count of the times someone asked me when we were doing ‘Pinky’ again, assuming it would be like my previous show, the one-man-solo-piece ‘Wretch Like Me,’ which I performed off-and-on for two-and-a-half years, and will be revisiting in August, when I kick off a year of fundraising aimed at taking ‘Wretch’ to the Edinburgh Fringe Festival in 2014. Alas, ‘Pinky,’ with its 150 light cues and inconspicuously complex staging, is not so mobile as ‘Wretch,’ and at the moment, there are not plans for Sheri, Liz and I to return to ‘Pinky.’ I am working to get ‘Pinky’ published and into the hands of other theater companies, several of which have asked about when rights to the play will become available.

So there’s that.

At the moment, we are all hard at work on other projects.

Sheri just opened Arthur Miller’s ‘The Price,’ a thick, meaty stew of a play, which she has  directed (beautifully) for Cinnabar Theater, in Petaluma (, where it will run (with brilliant performances by Charles Siebert, Samson Hood, John Shillington, and Madeliene Ashe) through April 7. Liz is hard at work on the world premiere of Robert Caisley’s  ‘Happy,’ opening on April 5 at 6th Street Playhouse (

As for me, in addition to gearing up for a return to the world of ‘Wretch Like Me,’ my autobiographical comedy-drama about teenage Christian fundamentalism in the 1970s, I am finishing up my newest play, a fiercely poetic, two-person adaptation of Antoine de Saint-Exupery’s ‘The Little Prince.’

Those who’ve seen my work will recognize familiar themes: storytelling as theater, the beauty of life and unavoidability of death, the transformational power of the imagination, and the (sometimes) annoying persistence of love in impossible situations.

For the time being, I plan to use this blog to post updates on both of these projects, and further developments as ‘Pinky,’ the play, moves forward as a published play, and then out into the world. I have other plans for ‘Pinky,’ the story, as well, and will keep the updates coming.


Final Show

Every fairytale has an ending.
‘Pinky’ runs one last time, tonight, at the 6th Street Playhouse.

Tonight is the last show in our ten-performance encore run of ‘Pinky.’ It’s a little bit sad, but it also feels good to have watched this show grow so much, to have seen how many people have been charmed, moved and even a little challenged by our odd little love story.
It’s been great getting to work with Liz Jahren, an actress I have always admired but never really knew, until last January when we met up at Sheri Lee Miller’s house for the first read-through of ‘Pinky.’ In our first run of the show, back in March, Liz had to leave ‘Pinky’ before the final weekend after her father died suddenly, meaning that when we performed our final show together, we didn;t know it was our final show. We all thought we still had one more weekend. Sheri stepped in, on book, to complete the run, and she was brilliant.
That last weekend was incredibly memorable, unexpectedly getting to perform on stage with Sheri. Still, there was also a tiny sense of incompleteness, the way it all played out with Liz. Because of  that, it’s especially meaningful that tonight Liz and I will be able to have the closure that comes from approaching a final show knowing that it’s the last time you get to play the characters whose lives you’ve been stepping into for weeks.

It’s been a good run.

Sheri, who spent her short few days off between performances of ‘The Lion in Winter’ to restage ‘Pinky’ for the larger space at 6th Street, once again proved what an incredible director she is. One of the best parts of the whole ‘Pinky’ experience has been the friendship that Sheri and I have established over the process of developing the play, then rehearsing and staging it . . . twice! We have decided to keep the partnership going. Sheri will be directing my next play as well.

First, of course, I have to write it. So  . . . I suppose I will now be getting to work on that.

But, maybe I won’t start till Tomorrow.

Because, hey, I still have one more performance to go. One more chance to fall in love with ‘Pinky.’ My hope is that we have a full house tonight, full of friends, fans, and family, theatergoers, gamers, nerds, romantics, and dreamers of all kinds, so we can all experience this very special love story together, one last time.


Tickets available while supplies last at

Detektivbyran (The Music of ‘Pinky’)

No longer together as a duo, the sibling-team of Swedish musicians known as Detektivbyran made two mysteriously offbeat records before disbanding. Their infectious accordion-synthesizer-toy piano composition ‘Karlekens Alla Farjor,’ has been adopted as ‘The Pinky and David Love Theme.’

“What is that piece of music?”

From the moment the lights go down at the start of ‘Pinky,’ the audience is dropped into Pinkyland with a playfully magical piece of music. A blend of synthesizer, glockenspiel, accordion, and toy piano, the music seems to be simultaneously happy and sad, ethereally childlike and grounded in wistful sentiment.
When asked what the piece is, and who recorded it, I often reply, “It’s the Pinky and David Love Theme,” though that’s only my nickname for it.
The piece is titled ‘Karlekens Alla Farjor,’ by Swedish brother-and-brother-and-drummer trio Detektivbyran.
Featuring Anders “Flanders” Molin, Martin “MacGyver” Molin, and Jon Nils Emanuel Ekström, the oddball group released only two albums in the mid 2000’s, both of them classics of modern electronica-folk.
Often described as sounding like “mysterious circus music,” the albums of Detektivbyran have been used in countless European commercials and television shows. The first time I heard their 2005 album Wermland, as I was beginning the writing of the ‘Pinky’ script, I recognized a sense of youthful wisdom, hope colliding with regret, knowing that they were, in a way, the very emotions that I was exploring in the play, only expressed in music rather than in words.
Wermland became part of my writing process. Whenever I would begin to write, I would make sure that I could listen to some or all of the album, just to get me in the right mood. I listened to it for months and months. There were other pieces of music that I listened to during this period, but Wermland was the biggie. Once the script was done, I included two tracks from the album on a mix-tape I gave to Sheri Lee Miller, the play’s director. The tape was a mix of all the songs and tunes that I listened to during the writing of ‘Pinky,’ including the cut ‘Karlekens Alla Farjor,’ ( the English translation of which is apparently ‘Calling All Ferries.” That’s ‘ferries’ as in ferry boats.
I was thrilled when, several weeks later, Sheri mentioned that she’d selected the music she wanted to use in the production of the play, and that the piece was her favorite piece from that mix tape.
I have to admit, that’s exactly what I’d been hoping for.
How perfect that Sheri also recognized how perfectly matched to ‘Pinky’ that one weird little piece of music is. And that is how ‘Karlekens Alla Farjor,’ by a defunct Swedish music group, became the musical soundscape of ‘Pinky.’

For information about tickets and showtimes visit

Words, words, words

Trivia Fans take note: The working script for ‘Pinky,’now playing at the 6th Street Playhouse, contains 8,366 fewer words that the text of William Shakespeare’s ‘Hamlet.’

In this blog, over the last 40 posts, I have been answering the various questions which have been posed to me before, during or after performances of ‘Pinky.’ As we begin our final weekend tonight, I thought I would answer a question I was asked at the after-party on opening night of the current run.

“How many words are in that script?”

That’s a very computer-era question, isn’t it? Before we had word processing programs with built-in word count functions, nobody asked how many words were in a play. They might ask how many scenes there were in the show. They might have asked how many pages were in the script, or perhaps ask an actor how many lines they had in their part. But rarely would anyone think of a play in terms of the number of words the actors had to speak.

For one thing, who would want to count them? I seriously doubt that in Shakespeare’s day anyone would have wanted the job of counting the number of words (“. . . words, words!”) that he’d written down in Hamlet. For the record, Hamlet contains 32,241 words. Romeo and Juliet contains 25,850 words. Shakespeare’s shortest play, The Comedy of Errors, contains 16, 248 words.

So, how many words are in the script of ‘Pinky’?

The version we are using for the 6th Street run contains exactly 17,484 words, including stage directions and the names of the characters who are speaking. So, this means that ‘Pinky,’ a play for two actors, is 1,236 words longer than Shakespeare’s shortest play.

Whatever that means.

Actually, to be clear, one should consider the fact that, as written, ‘Pinky’ really does have a high number of words that are never spoken. Using the magic of word-count functionality, I determined before the first run of the play that the script contains just under one-thousand uses of the character’s names. So when the script reads . . .

Ashley knew Pinky the best—so I started with her.

[Entering a memory in which he talks with Ashley and Jake]

“Ashley . . .  does Pinky ever say anything about me?”

“Why don’t you just ask Pinky?
Take the leap, David. Talk to her! See what happens.”

“Good advice, Ashley. Jake! What do you think I should do?”

“Oh, Dude. Negatory! You should definitely not talk to Pinky! Maybe you should just back away slowly, man. Listen. I don’t know how to tell break this to you, but . . .  I’m pretty sure she’s into somebody else.”

. . . that 103 word chunk of script actually contains 21 words that aren’t meant to be spoken. And for what it’s worth, the original working script of ‘Pinky’—the one we went into rehearsals with back in January—contains nearly 21,000 words. When developing a new play, it is not uncommon for the playwright to make edits as she or he gets a sense of what the play is like on its feet. In that case, there was one very hard weekend where I cut nearly 4000 words of the script (the event I now think of as “The Blood Bath!”) and presented the cuts to Sheri. Let’s just say that was a very hard conversation, and some of those cuts ended up being over-ridden by Sheri, most significantly David’s opening monologue, which I decided could possibly be lost without killing the story. I still think that, though that monologue is one of my favorite pieces of writing I have ever done in my life. Sheri, however, made the call to keep the monologue in, and to find other cuts here and there as we continued the rehearsal process.

“We will buy that monologue back, line by line,” she said.

And we did.

So, as Liz and I prepare to take our unusual little love story to the stage for our last three performances, letting those 17,484 words (spoken and otherwise) play out in front of our final three audiences, it is my hope that, however many words there really are, they all add up to three memorable nights of theater, as David and Pinky wrestle with what it means to be young and confused and full of dreams. Because, ultimately, a play is not judged by the number of pages or lines or words in its script, but by how well it makes you forget that there was ever a script to begin with.


Tickets and information can be found at

Three Days

We’ve had three days off since Sunday’s matinee of ‘Pinky,’ and as much I relish the opportunity to focus on other things, to catch up on work, maybe go see other shows (I’m heading down to Marin Theatre Company tonight!)  . . . I find that I really do miss performing our story almost immediately once our weekend of shows is over. So . . . I am looking forward to this weekend, and our final three opportunities to tell the story of David and Pinky and the crazy things they do for love.

‘Pinky’ has been a major labor of love for all of us involved, and I think we will all miss it when it ends. Not that we won’t all have plenty to keep us busy. Sheri is already on to other projects, performing in ‘The Lion in Winter’ at Main Stage West while preparing to direct Conor McPherson’s ‘The Weir’ there in October. Liz goes immediately into rehearsals for Dario Fo’s ‘We Won’t Pay We Won’t Pay,’ opening at Cinnabar in a couple of months. I will be turning up the heat on the writing of my next play, an unusual two-actor adaptation of ‘The Little Prince’ which I am developing with Sheri. Lori and Andy (Stage Manager and Assistant Stage Manager) are on to other things as well.

So it’s not like we won’t be busy once ‘Pinky’ closes.

But this has been a special show for all of us, and we will surely miss it once we are on to those other projects. The opportunity to bring the story to life again at 6th Street Playhouse has been incredibly special, and I’d like to say thank you again to Craig and Michael and Jo for all of their support and enthusiasm.

And now it’s all over except for the last three shows.

We hope that everyone who has seen it has been touched by it over these three weekends, all those who’ve been challenged and charmed by ‘Pinky,’ will have memories as fond and as magical as ours.

For information about show times and tickets visit

Playwright Hideouts

Christy’s on the Square, in downtown Santa Rosa, was one of the two unlikely spots where playwright David Templeton found himself writing major sections of the romantic comedy ‘Pinky.’

After a performance, there are often folks waiting in the lobby to say hello to the performers. Sometimes they have feedback, sometimes they have questions. Occasionally, there are people who want to ask me something related to the script. After all, most theatergoers do not have the opportunity to meet the playwright, so sometimes a person will take advantage of the playwright being one of the actors. Last weekend, someone asked me a question  no one has ever posed before, or at least, never immediately after a performance.

“When you write,” he asked, “where do you write? Do you have an office? Do you write in your living room or kitchen? Do you go to a coffee shop? Whenever I write, I like to go to the coffeeshop. So . . where did you write the script for ‘Pinky’?”

Funny he should ask.

When I write my columns and theater reviews, I often write at home, though I do have a small office in Petaluma established for that purpose as well. When I write larger projects, I have found that, like the guy in the lobby, I do well in coffee shops.

‘Pinky’ was a different story.

I discovered Christy’s on the Square ( —and its amiable bartenders Jason and Justin—a couple of years ago, when I stopped by one early evening to hear a friend who was playing the jazz piano there. I quickly saw that Christy’s was a spot a person could relax in, especially between the hours of 5 and 8, when Christy’s clientele is primarily professional people and business folk unwinding with friends after work. It’s a very classy place. Soon thereafter, when looking for a quiet spot to do a bit of writing while maybe having something a bit stronger than a cup of coffee, I hauled my laptop over the Christy’s, sat at the bar, and discovered that this was, in fact, a great place to get some work done—and have a nice cold vodka martini (best martini’s in town, by the way).

I began writing ‘Pinky’ in March of 2011, and somewhere around May of that year, it became clear that the vibe at Christy’s was  fertile ground for working on that particular play. At least once a week, in the late afternoon, I’d appear, and do as much work as I could before the later part of the evening, when the volume goes up and the place becomes more crowded. I’m not sure when I told Jason and Justin that I was writing a play, right there every Tuesday night, but once I did, they became huge supporters of the project, making sure I wasn’t distracted by curious visitors wanting to know what I was doing, occasionally acting as sounding board when I would be working out some particular scene.

In fact, one of the play’s most memorable speeches—the one we call The Balloon Animal speech—was written in its entirety there are Christy’s. I knew I needed a scene where David would try to convince his friend Jake to help him find out what kind of guy Pinky was looking for. “What if it turns out Pinky is looking for a guy who . . .?” That’s as far as I’d gotten. I knew I wanted David to ponder that question my imagining Pinky’s perfect guy as something really outrageous, but what? Sitting there at the bar, I let my eyes wander around the room, letting various possibilities fill the blank in that sentence. “What if it turns out Pinky is looking for a guy who . . .?” I took in the stage, where the musicians were setting up. “What if she’s looking for a guy who plays in a rock and roll band?” Too obvious. My eyes took in the basketball game on the T.V. screen. “Plays Basketball for the Lakers?” No. My imagination began to morph each idea into its most outrageous alternatives, and as the basketball player became an Olympic athlete, a movie star, an astronaut, a tightrope walker, a Circus ringmaster, a clown . . . boom! I had it. “What if Pinky is looking for a guy who, I don’t know . . . blows up balloon animals?”

The rest of the speech was done within thirty minutes. I immediately called Sheri (the play’s director), and read it to her over the phone, as Jason moved closer to hear the speech. When I was done discussing it with Sheri, after I’d hung up, he said, “Wow! This play sounds hilarious!”

The quiet setting and all-around beauty of Moshin Vineyards was a perfect spot for David’s fall and winter “writing retreats,” where the combination of the winery’s charming Guest Suite and the close access to miles of creativity-fueling hiking trails along the river made for the perfect spot to finish writing the play . . . as the deadline for completion loomed.

But there’s another spot that played a big part in the creation of ‘Pinky.’

My friend Julia has worked for Moshin (, as the Director of Hospitality, for a while now, calling attention to Moshin’s award-winning hand-crafted Pinot Noir and other wines. She and her husband Dan (the two of them produced my last play, the solo-show ‘Wretch Like Me’) have been supporters of the Pinky Project for some time. I wrote the two opening monologues in the small Mendocino cabin-in-the-wood owned by Julia’s grandmother. Late last year, as the deadline to complete ‘Pinky’ was drawing closer and closer, Julia offered me the use of Moshin’s gorgeous guest suite, a very cozy room attached to the Moshin’s rustic winery building and tasting room. Just like at Christy’s, the staff and owners of Moshin (thanks Rick and Amber!) were very interested and supportive of my project, curious about the themes of the play.

Sometimes, writing a play just cannot be accomplished in short spurts of two or three hours. You need to just go away and write for hours and hours and hours. That’s what I did during my writing retreats out at Moshin. During the daylight, I would walk down to the river beneath the Wohler Bridge, a notepad in my back pocket to capture the ideas that would spring to mind as I walked, playing various ideas in my mind.

Some of the most pivotal decisions of the ‘Pinky’ playwriting process took place out there, either inside the suite or out on the trail. It was 2:00 in the morning when, as an experiment (during my first overnight visit to Moshin Vineyards), I decided to invent Pinky’s infamous Prince Charming list. I always knew I’d refer to the list (the real Pinky really did have a P.C. list), but since I never knew what was on the list, I wasn’t sure the play would include any of those items. By 3:00 a.m., I had finished the list of  made-up P.C. attributes . . . and the entire play took a sudden leap forward.  Later, while walking along the river, I stumbled upon the play’s final twist, mentioned during David & Pinky’s show-closing epilogue. When I thought of it, it literally stopped me in my tracks, as I dropped to a crouch to write the entire scene right there beside the river.

So. Long answer to a short question.

Where did I write ‘Pinky?’ With a little help from my friends, I wrote ‘Pinky’ all over the place: in a cabin, in a bar, and at a winery in Healdsburg.

Soon I will begin serious work on my next play.

Where will I end up writing that one? I’ll let you know.


For information about ‘Pinky’ tickets and showtimes, visit


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