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End Of Scene Blog Entries
SATURDAY, DEC 7, 2013
Ken makes a scene about why he wrote LIFE ON PAPER
FRIDAY, JUN 7, 2013
[EXCERPTED REVIEW] Broadway World makes a scene about Warrior Class at the Alley Theatre.
FRIDAY, JUN 7, 2013
[REVIEW] The Houston Press makes a scene about Warrior Class at the Alley Theatre.
SUNDAY, FEB 3, 2013
Ken makes a scene about an upcoming reading at Ensemble Studio Theatre
FRIDAY, FEB 1, 2013
Ken makes a scene about joining Season Two of House Of Cards
SATURDAY, DEC 8, 2012
Ken makes a scene about a letter from Liz Engelman
THURSDAY, DEC 6, 2012
Ken makes a scene about "Red State Blue State" on This American Life
MONDAY, NOV 5, 2012
Ken makes a scene about a stage adaptation of Warrior Class for the BBC.
TUESDAY, OCT 16, 2012
Ken makes a scene about participating in Baltimore Center Stage's MY AMERICA PROJECT, directed by Hal Hartley
SUNDAY, JUL 29, 2012
Errol Louis makes a scene about Warrior Class on NY1's INSIDE CITY HALL
WEDNESDAY, JUL 25, 2012
Head critic for NYTimes makes a scene about Warrior Class on WQXR's Around Broadway.
TUESDAY, JUL 24, 2012
REVIEW: The Daily News makes a scene about Warrior Class
TUESDAY, JUL 24, 2012
REVIEW: The New York Times makes a scene about Warrior Class.
TUESDAY, JUL 24, 2012
REVIEW: Variety makes a scene about Warrior Class.
TUESDAY, JAN 24, 2012
Ken makes a scene about The Montgomery New's Review of FALLOW at People's Light and Theatre Company.
THURSDAY, JAN 19, 2012
Ken makes a scene about STAGE Magazine's review of FALLOW at People's Light and Theatre Company.
THURSDAY, DEC 1, 2011
Ken makes a scene about a remarkable piece of writing about the American theatre
TUESDAY, NOV 22, 2011
Ken makes a scene about a character's stage transformation
MONDAY, NOV 21, 2011
Ken makes a scene about WARRIOR CLASS online
TUESDAY, SEP 27, 2011
Ken makes a scene about the Asian American Performers Action Committee
MONDAY, SEP 26, 2011
Ken makes a scene about the fast work of SCR's casting department
FRIDAY, SEP 16, 2011
Ken makes a scene about Anne Garcia-Romero's post about LoNyLa
WEDNESDAY, JUL 6, 2011
Ken makes a scene about the Pew Center for Arts & Heritage's $150,000 grant to FALLOW
SUNDAY, JUN 19, 2011
A letter from Kaitlin Hopkins - Head of the Musical Theatre Program at Texas State
TUESDAY, FEB 15, 2011
Ken makes a scene about science plays.
WEDNESDAY, DEC 22, 2010
Ken makes a scene about Intelligence-Slave making the Houston Chronicles Top Theater Shows of 2010 list
TUESDAY, OCT 19, 2010
Ken makes a scene about intra out-group persecution.
WEDNESDAY, OCT 13, 2010
Ken makes a scene about why theater is not a humanity.
WEDNESDAY, OCT 6, 2010
Ken makes a scene about Athol Fugard's criticism about the failure of modern dramatists
MONDAY, JUL 26, 2010
Ken makes a scene about the diverse audience of Queens Theater in the Park
SUNDAY, JUN 6, 2010
Ken makes a scene about the Jewish Herald-Voice's profile of INTELLIGENCE-SLAVE
WEDNESDAY, JUN 2, 2010
Ken makes a scene about Lee Williams's review of Intelligence-Slave in the Houston Press
TUESDAY, JUN 1, 2010
Ken makes a scene about his Intelligence-Slave interview with culturemap.com
SATURDAY, MAY 29, 2010
Ken makes a scene about Everett Evans's review in the Houston Chronicle
TUESDAY, MAY 25, 2010
Ken makes a scene about sharing a collective spirituality in the theater
SUNDAY, MAY 23, 2010
Ken makes a scene about seeing the bird through the feathers
FRIDAY, MAY 21, 2010
Ken makes a scene about tech, letting go of the play and making discoveries in production
MONDAY, MAY 17, 2010
Ken makes a scene about INTELLIGENCE-SLAVE in the Houston Press
SUNDAY, MAY 16, 2010
Ken makes a scene about INTELLIGENCE-SLAVE in the Houston Chronicle
THURSDAY, MAY 13, 2010
Ken makes a scene for the Alley Theatre's Mark Bly
WEDNESDAY, APR 21, 2010
Ken makes a scene about being playwright 151 in Adam Szymkowicz's blog.
THURSDAY, APR 8, 2010
Ken makes a scene about changing the name of his play.
THURSDAY, MAR 18, 2010
Ken makes a scene about pundits and why Tom Hanks is "injecting" racism into World War II.
TUESDAY, MAR 16, 2010
Ken makes a scene about writing "winning" dialogue.
MONDAY, MAR 15, 2010
Ken makes a scene about agents and the ecology of show business.
SATURDAY, MAR 13, 2010
Ken makes a scene about the beauty of the theater actor
THURSDAY, DEC 17, 2009
Ken makes a scene about non-English language productions
TUESDAY, NOV 17, 2009
Ken makes a scene about reviewing business books for theater artists
WEDNESDAY, NOV 4, 2009
Ken makes a scene about THE BIG REWRITE!
TUESDAY, OCT 27, 2009
Ken makes a scene about the discovery of an algorithm for happiness (7ZJJBYD9U6PX)
THURSDAY, OCT 22, 2009
Ken makes a scene about Holocaust fiction as a literary genre
TUESDAY, OCT 13, 2009
Ken makes a scene about Asians who don't go to the theater.
MONDAY, OCT 5, 2009
Ken makes a scene about the challenge of bravery in the theater.
MONDAY, SEP 28, 2009
Ken makes a scene about the death of Tragedy and Comedy.
TUESDAY, SEP 22, 2009
Ken makes a scene about Dave Matthews's statement that racism is "everywhere" in America.
WEDNESDAY, SEP 16, 2009
Ken makes a scene about why playwrights need websites.
End of Scene Blog

New Play Initiative at the Alley Theatre
Monday, May 17, 2010
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Mark Bly, Director of the New Play Initiative at the Alley Theatre talks to the Houston Press about Intelligence-Slave and the Alley's New Play Initiative. Here's what he had to say:

Mark Bly at the Alley Theatre Talks About Intelligence-Slave
By Margaret Downing

A man in a World War II concentration camp is kept alive only because he has invented an early version of the calculator -- a four-function, hand-held model. But the only thing keeping him from being killed is that as far as his Nazi captors know, he hasn't completely finished it.

In Intelligence-Slave, the third of the Alley Theatre's New Play Initiatives this year, playwright Kenneth Lin sets up an exercise in survival and tension, all of which is ratcheted up a notch upon the arrival of a young brilliant member of the Hitler Youth brought in to work with the prisoner, Curt Herzstark.

Hair Balls talked with the Alley's resident dramaturg, Mark Bly, who, as it turns out, has a long history with author Lin. "Ken Lin was my student at Yale in the playwriting program. He was one of three students I accepted. I knew he was going to be an extraordinary writer," Bly said.

Bly kept an eye on Lin's work and when he learned about this play, he says he fell in love with it and brought it to the attention of Alley Artistic Director Gregory Boyd. He asked Lin, who is Asian-American, why he was interested in telling a story of the Holocaust.

"He said, 'in a few decades there will be no more survivors to testify. This is something we all need to care about to carry the legacy of the Holocaust into the future.' " Bly said. "As Ken says, 'We're one generation away from there being no more survivors.' "

Bly is justifiably proud of the work the Alley Theatre is doing in bringing new plays along. At a time when many theaters across the country are pulling back because of budgetary concerns, the Alley had world premieres of Rajiv Joseph's Gruesome Playgound Injuries in the fall and Jack Murphy, Gregory Boyd and Frank Wildhorn's Wonderland at the start of the year.

Fortunately for the Alley, the risks it is willing to take have been rewarded with a certain amount of success.

"A lot of people were willing to see Gruesome Playground Injuries. They came to it and loved it; we did our budget and beyond," Bly said. By the last weeks of Wonderland, it was standing room only to get in to see the performances.

Bly's role in all this, other than to help find good material and present it to the Alley for consideration, is to provide notes and guidance while the plays are in rehearsal, helping with any fine-tuning that's a common part of putting together more successful shows. Following Wonderland they did a one-week workshop with Intelligence-Slave that helped the actors and the writer.

With all the plays that the Alley puts on in a year, Bly thinks it's fitting that it set aside three to encourage new writers and productions and to open up new kinds of offerings for theater-goers.

"Why not make three of them plays that can be a legacy for the future? If you're in a state that was founded by pioneers, why not have a few pioneers in the 21st Century?"

Intelligence-Slave runs May 23 through June 20, 2010 on the Neuhaus Stage. Tickets are available for purchase at www.alleytheatre.org, at the Alley Theatre Box Office, 615 Texas Avenue, or by calling 713.220.5700.

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