2017-2018 Season

5th Wall Theatre has announced their 2017-2018 Season, and it’s a season that promises to hold both creative diversity and meaningful collaboration with theatre companies across Virginia. When asked
about the upcoming season, 5th Wall’s artistic director Carol Piersol emphasized the theatre company’s focus on bringing important, thought-provoking narratives to the Richmond stage while also strengthening the creative relationships 5th Wall has built with other theatres outside city limits. “The Richmond theatre community holds a wealth of talent,” says Piersol, “and we are delighted to be collaborating this year with two of the city’s finest companies, Richmond Triangle Players and Theatre Lab, as well as with Club Infuzion and our neighbor in Hampton, Hampton Arts.”


Season summary:

“Murder Ballad” | October 26 – November 18, 2017
A Downtown and Off-Broadway sensation, “Murder Ballad” centers on Sara, an uptown girl with a downtown past that refuses to stay behind her.  This dramatic telling of a love triangle gone wrong is a steamy exploration of the complications of love, the compromises we make, and the betrayals that undo us.  Co-sponsored by Club Infuzion and Catalyst Fit.

“Pump Boys and Dinettes” | March 9 – March 31, 2018

The Pump Boys sell high octane on Highway 57 in Grand Ole Opry country; the ‘Dinettes’, Prudie and Rhetta Cupp, run the Double Cupp diner next door. Together, they fashion an evening of country western songs that received unanimous raves on and off-Broadway.  Produced in partnership with Hampton Arts and The American Theatre in Hampton, VA.

“I Am My Own Wife” | March 7 – March 17, 2018
This Pulitzer and Tony Award-winning one-man play tells the remarkable story of Charlotte von Mahlsdorf, a transgender woman who lived in East Germany during World War II and who would become the .founder of the Gründerzeit Museum, or “Museum of Everyday Objects” saved from the rubble of homes abandoned during the war.

“Hand to God” | July 13 – August 4, 2018 
This Tony-nominated play delighted Broadway and Off-Broadway audiences with the story of Jason, an anxious teen dealing with the death of his father, and Tyrone, a hand puppet who takes on a shockingly irreverent personality of his own that upends the quiet of a conservative, evangelical Texas town.  A co-production with TheatreLAB in Richmond, VA.


“Rustbelt: 2014” | November 20, 2017
In RUSTBELT: 2014, a toxic spill serves as the stark backdrop to a love story set in ‘Chemical Valley’, and despite the heavy presence of the spill’s dangerous consequences, an unexpected humanity arises from the page.   Archetypes and anti-heroes wrestle with ideals, policy, community and corruption in this reading directed by Susan M. Gardner.  This work hopes to give voice to those in America living with inadequate drinking water, which disrupts a sense of place and shatters communities.

“The King of Crimes” | January 27 – February 2, 2018

Treason is the “king of crimes,” the only criminal act defined in the U.S. Constitution. In 1807, Thomas Jefferson’s ex-Vice President, Aaron Burr, was arrested in Alabama for treason and returned to Richmond, VA, to be tried in US Circuit Court. Richmonders and citizens from across our fledgling nation flocked to the Capitol building, unable to resist the courtroom cast of famous double crossers, spies, villains, cipher letters, thunderous speeches, and the man who’d shot Alexander Hamilton in a duel. “The King of Crimes” tells us of the great forces that almost tore our young country apart, and the Constitution – and remarkable men – that held it together.

“Animal Control” | February 18, 2018
When an incident at the local dog park turns vicious, an inexperienced animal control director finds herself in over her head and must rise to the challenge to protect both parties from each other and themselves. In some sense, it’s a courtroom drama; the characters all play defendant, plaintiff, witness, judge, jury and executioner. In some greater sense, it’s about what it means to be The Other, what it means to be Othered; it’s about denying similarities and obeying differences; it’s about power and insecurity; and, ultimately, it’s about the ever-evolving nature of compassion.