5TH WALL THEATRE’S 2024-2025 season

H*TLER’S TASTER BY MICHELLE KHOLOS BROOKS

Directed by Kaitlin Paige Longoria

October 17 - November 2, 2024

Performances at Theatre Gym (114 W. Broad St. Richmond, VA 23220)

In Partnership with Virginia Rep

Three times a day, every day, a group of young women have the opportunity to die for their country. They are Adolf Hitler’s food tasters. H*tler’s Tasters is a fictional retelling of a largely unknown story of the young German women conscripted to taste Adolf Hitler’s food for poison. This dark comedy explores the way girls navigate sexuality, friendship, patriotism, and poison during the Third Reich. Using an anachronistic retelling of a historical footnote, H*tler’s Tasters considers what girls discuss as they wait to see if they will survive another meal.

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About the Playwright

Michelle Kholos Brooks

Michelle Kholos Brooks is an award-winning playwright with productions staged internationally. Awards and distinctions include the Susan Glaspell Award for H*tler’s Tasters and the Riva Shiner Comedy Award for Kalamazoo. H*tler’s Tasters was named Best of Fringe by Stage Magazine at Edinburgh Festival Fringe after an entirely sold-out run and was selected for the annual Kilroy’s List. Hostage was a finalist for the Woodward/Newman Drama Award. (Ret) General David Petraeus said of Brooks’ play, War Words, “Few movies or plays have ever captured for me as powerfully as War Words…the experiences of American veterans.” War Words will have its world premiere in New York in the fall of 2023. Publications include Dramatists Play Service, Room Magazine, and The Daily Beast. Brooks is the Playwright-In-Residence at New York Rep. She is a Nonresident Senior Fellow at the Atlantic Council, Scowcroft Center for Strategy and Security, a member of The Dramatists Guild of America, The Playwright’s Center, and Pacific Resident Theatre.

Note from the Playwright

The H-Word

I understand that some people are triggered by the name, Hitler. I am too. However, as a Jewish woman, I am more terrified by what I’m currently seeing in the world around me than I am by a name—albeit the worst name.

H*tler’s Tasters is a play about many things but, most importantly, it is a play about the dangers of complacency.


The girls in H*tler’s Tasters are the girls whose families didn’t resist the tide of tyranny. They didn’t catch the signs, or, worse, they accepted the “inevitable” and looked the other way when the “others” lost their homes, their businesses, and their lives. What they failed to realize is that madmen first come for the “other,” but when there is no one left, he turns on his own. Hitler was willing to sacrifice young, German women; the future of the Reich, the potential bearer of German sons, to taste his food for poison. The tyrant is insatiable and, because power makes him even more paranoid, there is no amount of privilege—be it race, economic, social, or even family status that protects us when the tyrant turns his gaze in our direction.

Right this very minute, bad actors in government are working to undermine our country. They are once again trying to control the ability for women to have autonomy over their bodies. They are surgically and deftly slicing away at our democracy with tiny, barely noticeable cuts. However, as with the Nazi’s, these small fissures, paired with outrageous lies about immigrants, Blacks, Asians, Jews, the LGBTQ2+ community, Hispanics, Muslims, or any number of “others” are conspiring to create a chasm into which we’re all in danger of falling. It is devastating to think that our children’s children could look back and wonder why we didn’t pay attention when the signs were so glaring.

H*tler’s Tasters is also very much about the treatment of young women—the way society exploits and then discards them is a story as old as time. It’s disproportionately true for poor women and women of color, but there is not a woman in the world who has not felt the fear brought on by an unhinged male with power—be that at work or walking down the street. In H*tler’s Tasters we see the way young women, raised with Hitler as their father figure, have been indoctrinated. We have the heartbreaking experience of watching them submit to their fate.

We have true dictators and a number of aspiring dictators in our midst right now. We watch their lies, manipulation, and destruction in real time. We see their supporters believe they can trust these bombastic male figures to do what is right when most of us know that they are only interested in their power. These are dangerous times.

For all these reasons, H*tler’s Tasters feels more relevant today than when I conceived of it a few years ago. I wish it wasn’t. I wish I had written a story that was trapped in the amber of history. But the young women of H*tler’s Tasters are powerful reminders of what can happen when a society indulges in complacency and fails to notice that what affects some of us, eventually affects all of us.

Thank you for getting past the H-word and experiencing this play for yourself. I think you will see why so many Jewish publications, organizations, and even Holocaust survivors have supported this play. I promise it is so much more than the name of a tyrant.

Yours in peace and solidarity,


Michelle Kholos Brooks

Sanctuary city by Pulitzer Prize winner martyna majok

March 6 - 22, 2025

Performances at Richmond Triangle Players (1300 Altamont Ave, Richmond, VA 23230)

In post-9/11 Newark, NJ, two teenagers who were brought to America as children become one another’s sanctuaries from harsh circumstances. When G becomes naturalized, she and B hatch a plan to marry so that he may legally remain in the country and pursue the future he imagines for his life. But as time hurtles on and complications mount, the young friends find that this act challenges and fractures the closest relationship either has ever had.

About the Playwright

martyna majok

Martyna Majok was born in Bytom, Poland and raised in Jersey and Chicago. She was awarded the 2018 Pulitzer Prize for Drama for her play, Cost of Living. Other plays include Sanctuary City, Queens, and Ironbound, which have been produced across American and international stages. Awards include The Academy of Arts and Letters’ Benjamin Hadley Danks Award for Exceptional Playwriting, The Lucille Lortel Award for Outstanding New Play, The Greenfield Prize, as the first female recipient in drama, The Champions of Change Award from the NYC Mayor’s Office, The Francesca Primus Prize, two Jane Chambers Playwriting Awards, The Lanford Wilson Prize, The Lilly Award’s Stacey Mindich Prize, Helen Merrill Emerging Playwright Award, Charles MacArthur Award for Outstanding Original New Play from The Helen Hayes Awards, Jean Kennedy Smith Playwriting Award, ANPF Women’s Invitational Prize, David Calicchio Prize, Global Age Project Prize, NYTW 2050 Fellowship, NNPN Smith Prize for Political Playwriting, and Merage Foundation Fellowship for The American Dream.

Martyna studied at Yale School of Drama, Juilliard, University of Chicago, and Jersey public schools. She was a 2012-2013 NNPN playwright-in-residence, the 2015-2016 PoNY Fellow at the Lark Play Development Center, and a 2018-2019 Hodder Fellow at Princeton University.

Martyna is currently writing a musical adaptation of The Great Gatsby, with music by Florence Welch and Thomas Bartlett, and developing TV and film for HBO, Plan B, and Pastel.