Dear Friends,
Most of you know about San Francisco Aid for Animals. I was one of the original founders of this organization in 2008. I wanted to establish an organization that would help pets and owners in need. That would prevent needless euthanasias and relinquishments for financial reasons. That would save lives when lives could be saved. And should be. I knew then that there was a need. There has always been a need. But I did not think that the need would grow. And grow. Shelters are full again and beloved pets are being euthanized or relinquished for financial reasons. And yet these pets are even more dear, even more necessary as we face troubling, tumultuous times. Pets that sometimes are a person's stability and only joy in life.
To date we have saved over 900 pets and donated well over 1 million dollars to save vital relationships. (Exciting updated statistics to be announced at the event!)
This is a time to celebrate what we do and to help us help even more loved beings.
I hope you can come. It is a fun event with heartwarming stories, good food (and more of it) and potential glorious views.
I hope to see you there! It will mean a lot to many families and beloved pets.
With love,
Alan
# My Time in New York: When Words Come Alive
There was no time or residual energy to blog while I was there, so let me relive it for you now.
## Day One: The Magic Begins
May 12th found our *Lullaby for Winnie* team gathering at the Dramatists Guild Foundation (DGF) . First, let me tip my hat to the DGF—they provide rehearsal and writing rooms that save you a bundle rather than renting studio space, which can easily run $500 a day. And up. It's New York, after all.
We all meet nervously but excitedly. Introductions reveal that most know each other by one or two degrees of separation—the beautiful, interconnected world of New York theater. Peter Samplierie, our director, guides us expertly through the process. Constance (Emily), Kathleen (Marcia), and John (Steven) are all thrilled to be working with Winnie (also Jon), as none had worked with a puppet before. And what a puppet—a Great Dane with real stage presence.
When Words Transform
The first read-through goes beautifully, with nary a dry eye in the room. These are professionals who've already done their homework on their parts. Watching talented actors sculpt your words is breathtaking. I can hear what I think are realistic, dramatic voices in my head, but until you hear your lines read by Equity actors, you hardly have any idea what you've really created.
And it is beautiful. I am proud. I am confident. And yes, teary.
The Process Unfolds
Peter walks us through the schedule ahead. He's carefully planned the blocking and readings around everyone's availability—I'm reminded that most actors juggle multiple jobs to afford the opportunity to do what they love. This truly is a calling.
Sitting in that room, listening to my words come alive through these gifted performers, I feel incredibly fortunate to have this cast. I thank Peter for assembling such a talented group.
I can't wait for tomorrow.
More from my New York adventure coming soon...
The Playwright’s Dilemma: Rethinking “Lullaby for Winnie” -Part 5: Back to Winnie
For now, it's back to Winnie, the insightful and endearing Great Dane at the heart of my play, and back to the creative challenge at hand...
The Playwright’s Dilemma: Rethinking “Lullaby for Winnie” -Part 4: A Zoological Interlude
Speaking of which, I've been called to perform an endoscopy on their fossa tomorrow—a thrilling opportunity I rarely decline, even though it means sacrificing...
The Playwright’s Dilemma: Rethinking “Lullaby for Winnie” -Part 3: From Cogitation to Creation
Yesterday, I spent three hours mulling over these questions. Today, another hour passed in contemplation. Then it hit me—this isn't so...
The Playwright’s Dilemma: Rethinking “Lullaby for Winnie” -Part 2: Ownership and Artistic Vision
I keep coming back to a fundamental truth I've mentioned before in this blog: ultimately, it's my play. I know what I want the major dramatic..
Struggles with Re-writing
Upon returning, I planned to jump right into examining and incorporating feedback on "Lullaby for Winnie." I had notes from several conversations, and a few valid points..
Vacation and Being a Writer
My husband and I recently took a glorious three-week vacation—our most generous time away ever and two years in the making. It was wonderful, but throughout the first week…
The Creative Juggling Act: Working on Two Plays at Once
For years, I've fought this nagging question that haunts me during late-night writing sessions: Could I be more productive if I worked on multiple plays simultaneously? I tried in the past but failed.
The Feedback Feast: White Fang Takes Shape
The draft is done! White Fang now lives outside my head, traveling through the minds of two writing groups, a local Artistic Director, a dramaturge, and a Gwich'in cultural consultant.
Behind the Curtain: The Business They Call ‘The Hustle’
Between bursts of creative writing comes what we in the theater world call "The Hustle"—the relentless business side of being a playwright.
Filling the Room: The Strategic Art of Reading Invitations
The first commandment of staged readings: Pack. The. House. This isn't about ego. An empty room creates a vacuum that sucks energy from even the most talented actors.
The Playwright’s Dilemma: Rethinking “Lullaby for Winnie” -Part 1: When Feedback Resonates
The creative process is rarely straightforward, especially when it comes to playwriting. This week, I've scheduled myself to revisit "Lullaby for Winnie" after receiving feedback..
Bringing White Fang to the Stage: Crafting a Puppeteer’s Vision in the Wild Yukon
As I work on my second draft of the adaptation of Jack London’s White Fang, the world I've created begins to take shape in exciting new ways.
Bringing Zippy to Life
The breakthrough came during my morning walk – Zippy, our AI dog, evolved from the very beginning. As a veterinarian, I realized this play is fundamentally about watching a dog learn to be a dog.
Exploring Nature vs. Nurture in White Fang: Finding the Through Line of the Story
Every play needs a through line—a guiding force that keeps the narrative focused and grounded. As I continue working on the adaptation of White Fang, I find this guiding element essential.
From Great Danes to Great Stories: A Journey from Veterinarian to Playwright
From the very beginning, I only ever wanted one thing: to be a veterinarian. My love for animals was all-consuming, even as a child growing up in a New York City apartment where pets weren’t exactly welcome.