As resident dramaturg and literary manager for Disney Theatrical Productions for 16 years, he developed over 70 stage titles for Broadway, touring, international, and licensed productions, including The Hunchback of Notre Dame, Freaky Friday, Aladdin, Newsies, The Little Mermaid, High School Musical, Tarzan, and Marvel Spotlight Plays, and edited two official Broadway “making of” books, Peter and the Starcatcher: The Annotated Broadway Play and Newsies: Stories of the Unlikely Broadway Hit. Other dramaturgy includes the bilingual Shakespeare adaptation Romeo y Juliet by Karen Zacarías and KJ Sanchez (Cal Shakes); the chamber opera Blood Moon by Ellen McLaughlin and Garrett Fisher (PROTOTYPE 2020); and adaptations of Bud, Not Buddy, The Gift of Nothing, The Cricket in Times Square, and OLIVERio: A Twist on Dickens (Kennedy Center).
Current new musical projects include co-writing librettos for Atlantis, Laurel Canyon, and Dream and dramaturgy for Redwood by Tina Landau and Kate Diaz (directed by Tina Landau), Five Notes by Karen Zacarías and Gloria & Emily Estefan (directed by Michael Greif); The Ten by Nambi Kelley, Emily Phillips & Future Cut (directed by Ruben Santiago-Hudson); The Song of Bernadette by Rinne Groff, Robin Lerner & Frank Wildhorn (directed by Christopher Gattelli); Evening Train by Mick Flannery (directed by Julie Kelleher); and In My Own Little Corner: My Work in Progress with Bipolar Disorder by Chryssie Whitehead (directed by Bryan Knowlton). Ken is past president of Literary Managers and Dramaturgs of the Americas (LMDA), co-founder of the American Theatre Archive Project, Artistic Director of Two Turns Theatre Company, and a proud board member of New Light Theatre Project.
He is a proud graduate of UC San Diego (BA), Catholic University (MA), and University of Washington (PhD); has three extraordinary sons; and lives in Harlem, NYC, and San Mateo, CA, with one incredible spouse.
Theater Studies