OutSTANDING NEW WORK!
Compelling New Plays
EXCITING New MUSICALS
PASSION.
What makes a Great Play or Musical?
A great play is one that feels alive. It pulses with honest characters, each with desires and flaws that make them feel real. The dialogue crackles with authenticity, the tension is palpable, and the stakes keep escalating with every scene. A great play digs deep into the human experience. It doesn’t just entertain, it resonates, forcing us to question, to laugh, to cry, and feel deeply.
A great musical is an exhilarating marriage of story and song, where the music elevates the narrative, making the emotions bigger, the characters larger, and the story unforgettable.
A great musical is a celebration of sound and movement, where each song serves a purpose, whether it’s to drive the plot, reveal a hidden truth, or deeply move the audience. When done right, a great musical turns every note into an emotional adventure, making every moment a crescendo of feeling.
What truly makes a great play or musical is passion, the passion behind the words, the music, the performances, and the stories themselves. Passion that compels us to feel, stirs us to act, as we experience something unforgettable.
Great theatre is a live emotional experience.
At Ken Wolf Literary, we are committed to great plays and musicals that don’t just entertain, but inspire. New Works that take risks, break boundaries, and redefine what theatre can be. We believe in new voices with bold stories, stories that will leave an indelible mark on the world, and in our hearts.
Currently, as we open here in NYC, we are now only working with a handful of curated, developed plays and musicals.
We are not accepting new clients at this time.
Plays
RAWSHOCK
by Rita Lewis
Inside the group room of a long-term psychiatric facility, current and former patients gather to share personal stories, give mutual support, and provide a safety net for life’s difficulties. All works well until a corporation takes over the hospital and threatens its very existence. Behind the scenes, Liz, the group’s therapist, decides to fight the business mentality. But can a highly trained clinician match skills against an entity of acute intelligence and little heart?
RAWSHOCK by Rita Lewis was originally presented in June 2023 by Manhattan Repertory Theatre in a developmental production. Due to an overwhelmingly positive response, within 3 weeks, RAWSHOCK was capitalized for a longer run at Chain Theatre.
Returning a year later, the Fall 2024 production of RAWSHOCK by Rita Lewis received outstanding reviews, and was put on theaterscene.org's {2024 - A 10 Best List) with Broadway productions.
"Playwright Rita Lewis’ searing topical drama, Rawshock, was given a scorching production by the Manhattan Repertory Theatre. Artistic director Ken Wolf’s exhilarating physical staging was marked by rapid pacing with fiercely choreographed sequences of physical violence and emotional outbursts. A cast of seven fiercely performed this Rod Serling-style social drama about a group’s therapy sessions threatened by the acquisition of their hospital by a new corporation." - Darryl Reilly - Theaterscene.org - A 2024 10 Best List
The cast of Rawshock included Jennifer Pierro, Camber Carpenter, David Silberger, Nathan Cusson, Chelsea Clark, Christian Libonati and Theresa Della Valle. It was directed by Ken Wolf
7 Actors: 4 Female, 3 Male
LIZ: 35 - 45, therapist, compassionate and caring
DANA: 30 - 45, member of the group, passionate, out-spoken, hears voices
TINA: 20 - 35, memberof the group, soft-spoken, fearful, anxiety-ridden
KATHERINE, 60 - 75, member of the group, deeply sad at times for she has lost her family, and very emotional
ALEX, 25 - 35, member of the group, caring, yet he has anger issues, and can be violent
RICHARD, 35- 45, member of the group, quiet, cuts himself
SAM ROSEN: 40 - 65, works for the corporation that is taking over the psychiatric facility, company guy, and hard-ass at times
TIME: Today.
SETTING: Takes place in the group room of a psychiatric facility, and in the hallways of a psychiatric facility.
RUNTIME: 83 mintues without an intermission
Currently, no contracts or options.
All inquiries: kenwolfliterary@gmail.com
The Lady Demands Satisfaction
by Arthur M. jolly
When a young maiden who has never touched a sword learns she must defend her inheritance in a duel, she struggles with a milksop suitor, a servant girl posing as a Prussian fencing master, a Prussian fencing master who thinks he is there to marry her, a stodgy lawyer and her domineering aunt – the finest blade anywhere – to save her house and lands. Like all classic farces, everyone gets the ending they deserve in unexpected ways… but will they be satisfied?
The Lady Demands Satisfaction "takes the conventions of classic comedy—cross-dressing and mistaken identity, witty repartee laced with puns and double entendres, slapstick violence, satirical commentary on gender and class divisions—and ramps them up with a nonbinary 21st-century perspective.” ~ Albert Williams, Chicago Reader.
“A fierce, feminist farce...a 2 hour soundscape of belly laughter, metal on metal, and whatever the sound of pure heckin joy is.” ~ Emily Modaff, Hooligan Magazine
THE LADY DEMANDS SATISFACTION has been successfully produced in 11 theatres in the United States, and 1 theatre in New Zealand.
This play will be produced next at the Barn Theatre in Port Huron, MI, July 2025!
7 Actors: 5 Female, 2 Male
TROTHE PEPPERSTON, a lass of fifteen. (Trothe rhymes with ‘trophy.”)
DUCHESS THEODOSIA PEPPERSTON, Thothe’s aunt.
PENELOPE, A servant. Lower-class accent.
TILLY, A servant, somewhat junior to Penelope. Lower-class accent.
LUITGER (ELEONORE) Speaks only German. She passes as male for much of the play.
LORD ABERNATHY, An older gentleman.
OSRIC, A poet, about twenty.
Additional roles (doubled)
THREE SHADOW PLAYERS
ACADEMY SWORDSMEN (Optional Fight)
The roles can be any race/ethnicity. Diversity and non-traditional casting is encouraged, but with the awareness that the servant roles should only be played by actors of color in cases where the majority of the cast are AOC. Essentially, no "white nobility and POC servants" casts.
TIME: 1766
SETTING: Pepperston Manor House and grounds.
Two Acts with an intermission.
RUNTIME: Approximately 2 hours
All inquiries: kenwolfliterary@gmail.com
THE HORSE’S MOUTH
by TEE O’Neill
Gale Skinner is at the peak of her equestrian career. Against all odds, this orphan, not only survived a string of foster homes, has managed to conquer oneof the snootiest sports in the world: Three Day Eventing which is the equineversion of the triathlon requiring skills in dressage, cross-country and show jumping.
Skinner, now residing in Germany to perform the European Circuit, has just been selected to represent Australia in the Olympic Games.
When her horse throws her off in a major competition, Gale is accused of being an animal abuser, the internet goes wild, and she is forced to work with equine behaviourist Rinske (who she vehemently hates) and her horse Storm (who she loves) in order to stop the media frenzy and be able to compete again with Storm.
The Horse's Mouth is a moving story of how fulfilling a dream may be about waking up.
This unique play fuses together dance and dramatic scenes for three female actors and a male dancer to play the elite equine athlete Storm.
6 ACTORS, 3 Female, 3 Male
GALE, 23-year-old female.
BRIANNA, 29-year-old female
RINSKE, 45-year female
STORM, 14-year Thoroughbred Gelding (non-verbal role played by a male dancer)
PODCASTER ROY, American or British Accent, preferably a middle-aged man with a non-Australian accent.
PODCASTER QUENTIN, American or British Accent, preferably a middle-aged man with a non-Australian accent.
Please note: If a smaller cast is preferred, The Podcasters Roy and Quentin can be pre-recorded voiceovers.
TIME: Today
SETTING: Germany.
RUNNING TIME: Approximately 90 minutes - No Intermission.
Currently, no contracts or options.
All inquiries: kenwolfliterary@gmail.com
LOVELY IDIOTS
by Brad Dickson
LOVELY IDIOTS by Brad Dickson is an outrageous dark comedy about a faded New York City theatrical acting icon who dies and the ensuing post-death tumult among his family and friends.
Hyper-irreverent ala "Oh Mary!" and "The Play That Goes Wrong" it takes no prisoners in this almost-anything-goes wild farce that elicited big laughs during a recent reading in Times Square.
This is a real New York comedy, which a former Emmy-Winning Tonight Show and Late Night with David Letterman writer, Brad Dickson has masterfully scribed, and to call it insanely funny is an understatement!
10 Actors: 3 FEMALE, 7 Male
SCOTT MAYHUE: 35-40. Handsome, irreverent, ambitious, gay, almost talented.
GIL TAFT: 50’s. Smart, savvy, a successful theatrical producer.
MAGGIE TAFT: 40’s. Gil’s wife. A woman of color and practicality.
FRANK HOLLINGS: Aging ex-Broadway star, 60’s or 70’s. Non-discriminating pansexual.
RICHARD: 70-ish. Veteran acting sage.
TOM: 30’s or 40’s. A successful actor of color, who’s more lucky than he is talented.
PHIL: 30’s or 40’s. He’s prickly, ruthless, semi-smart.
MOTHER: 94, but played by a significantly younger actress.
LACY LAZAR: 30’s. Hyper-ambitious actress.
MINISTER: 40’s or 50’s.
TIME: Today.
SETTING: A simple mortuary chapel.
RUNTIME: 85 minutes without an intermission.
Currently, no contracts or options.
All inquiries: kenwolfliterary@gmail.com
The Legend of Pink
by Kheven LEE Lagrone
Set against the gritty backdrop of 1989 West Oakland during the crack epidemic, this play delves into the life of PINK, a charismatic and ghetto-fabulous drag queen.
It weaves a tale of survival, identity, and resilience amidst the chaos of a community grappling with poverty and drug culture. Through humor and drama, "The Legend of Pink" invites the audience to explore themes of self-discovery and acceptance.
An earlier version of this play was presented in 2017 at THEATER RHINOCEROS, America‘s longest-running LGBTQ+ theatre, in San Francisco.
Through years of development, THE LEGEND OF PINK has blossomed into a very exciting, funny and topical play.
4 ACTORS - 1 Female, 2 Male, 1 Pink
PINK: Definitively “ghetto-fabulous.” Outgoing, flashy, attention-loving, “finger-snapping” African-American drag queen in her early 20s.
DESHAWN: Handsome, preferably light-skinned African American man. He is 19 years old. He is very "thuggish."
NIKKI: Butch young African-American woman in her late teens or early twenties.
ACE:Powerfully-built, gruff and rugged, hard thuggish African-American man.
TIME: AUGUST 1989
SETTING: The play is set in the area called the Lower Bottoms neighborhood of (West) Oakland, California. Oakland is in the middle of a crack epidemic. August 1989
Currently, no contracts or options.
All inquiries: kenwolfliterary@gmail.com