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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 New York Times makes a scene about Warrior Class.
TUESDAY, JUL 24, 2012
REVIEW: The Daily News 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

Rave in Variety!
Tuesday, July 24, 2012
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VARIETY
Warrior Class
By MARILYN STASIO


What's this -- a new play with an actual brain in its head? How positively retro of Second Stage, which bagged this endangered specimen for the second slot in its summer Uptown Festival, a developmental program now in its 10th year.

In its sober treatment of the calculated corruption of a principled young Asian-American Assemblyman (described as "a Republican Barack Obama") being groomed for a run at the Senate, Kenneth Lin's "Warrior Class" is not only smart, it's also politically potent material for an election year.

Tech values are pretty snazzy for a workshop production mounted on a slim budget. Japhy Weideman's low-keyed lighting design casts nice shadows on the shady political deals that are struck in this play, while Andromache Chalfant's handsome wood-paneled set functions on the mysterious principles of a big Chinese box.

Hidden nooks and crannies behind the wall panels swing open on the kitchen of the tasteful suburban home where New York state Assemblyman Julius Weishan Lee, played by Louis Ozawa Changchien ("Predators"), is in consultation with veteran political handler Nathan Berkshire, played by David Rasche. This professional fixer is trying to convince the high-minded junior politico to abandon his do-good/feel-good crusades and get behind the big-ticket projects of the corrupt power elite. Julius is ambitious enough not to rule it out, but he's Mr. Clean and as such, needs a bit of persuasion.

The peek-a-boo set also transforms itself into various eating establishments in Baltimore where Nathan holds discreet meetings with Julius' college sweetheart. Holly Eames (Katharine Powell) may look like a harmless house mouse, but this woman has been nursing a grievance against Julius that could ruin his promising career if he doesn't find a way to make peace with her -- or if Nathan doesn't find a way to buy her off.

Holly not only accuses Julius of aggressively stalking her after she broke off their unhealthy relationship, she also holds him responsible for the crippling nervous breakdown that forced her to drop out of school and ended her own brilliant career. The details she supplies make the substance of her accusations sound entirely plausible. And guess what? She's got the threatening letters and compromising photos to prove it.

This is hot material, but to his credit, Lin doesn't cheapen it by playing for melodrama. Instead, he elevates one man's political dilemma into a probing morality play that raises all kinds of ethical questions. Is everything really fair in love and war and politics? Are crimes and misdemeanors ever admissable in the cause of a greater good? Can people really change over time? Can they ever be forgiven for their past sins? And who pays for these sins, anyway?

The characters don't debate these issues, which is always certain death in a political drama. They grapple with them in a personal way, something that's only possible because Lin has drawn these complicated people with both brains and psychological depth.

end of scene
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