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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

Weddings and organic food stores
Wednesday, April 21, 2010
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Hi Everyone. The brilliant playwright Adam Szymkowicz has been conducting a wonderful series of playwright interviews. He's picked me this week and here's what I had to say:

Kenneth Lin

Hometown: West Hempstead, NY

Current Town: Kew Gardens, NY

Q: Tell me please about your play going up soon in Houston.

A: My play INTELLIGENCE-SLAVE, is about Curt Hertzstark, a concentration camp prisoner who was kept alive by the Nazis, during World War II because he had invented the world's first hand-held four-function calculator. The play takes place in an abandoned salt mines where the Nazis moved an armaments factory to protect it from aerial bombings. Curt is keeping himself and all the rest of the workers in the mine alive by withholding the solution for the calculator. Though he discovered the solution a long time ago, Curt maintains that he can't get the calculator to do subtraction. In response, the Nazi's have sent a Hitler Youth down into the mine to spy on Curt. When the boy comes up with the solution on his own Curt must decide if the glory of discovery is worth the lives everyone who is down in the mine.


The play was commissioned by Manhattan Theatre Club and written in residence at the Nassau Country Holocaust Memorial and Tolerance Center.

Q: What else are you working on?

A: Well, I got married on Sunday, so I'm working on coming down from the cloud. Writing-wise, I'm developing some television shows and figuring out how to write a one-man show with the actor George Takei, who played Sulu on Star Trek. I'm also thinking really hard about a new play about the disturbing spate of violence committed by Asian men in America.

Q: Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A: My parents worked the night shift at night, so my sister and I would be on our own and we'd watch all kinds of strange television and I remember our experiences being so intense. We'd watch sitcoms and laugh so hard that our bodies hurt. I don't recall laughing like that in a long time. One episode of Highway to Heaven was so intense we sobbed for an entire night. Those were the days.

Q: If you could change one thing about theater, what would it be?

A: I don't know. That's such a big question. Theater really reminds me of an organic food store that just closed in my neighborhood. When I first moved here, I thought, "Wow, there's an organic food store here. This is a great neighborhood." But I never shopped there because everything was so expensive. They are liquidating now and everything is 50% off and I went to buy some things. I went to a counter with all these boxes that were covered in dust and when all was said and done, I still thought that it was too expensive. I think theater is similar. Who wouldn't want a theater to open up in their neighborhood? But, can a community afford to sustain these theaters under the current models? The answer is clearly -- no. Too often, we are in the business of catering to wealthy people, while leaving everyone else sitting in front of the tvs with their microwave dinners. What are we left with? Over-priced, dusty boxes of well-intentioned food. If I could change one thing to change this system, I'd do it, but I don't know what that one thing is. Maybe the best thing is that playwrights are moving to television. Maybe I would change theater by having performances televised live, like Playhouse 90 was.

Q: Who are or were your theatrical heroes?

A: David Henry Hwang, Chay Yew, Stephen Sondheim, John Doyle, Henrik Ibsen, Lynn Nottage, August Wilson, Arthur Miller, Bryony Lavery, Jackson Gay, the LMDA.


Q: What advice do you have for playwrights just starting out?

A: Don't be too critical of EVERYTHING. I think there was a time where I was so scared to be doing this with my life that it made it feel just a little bit less scary to hate everything I saw and pick it apart. But, you got into this because you love theater, right? Focus on the best of what you see and learn from that. Find a way to learn in every theater you are in, because, you'll be seeing a lot of theater and hating everything is just masochistic.

end of scene
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