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Balm in Gilead Tickets

by Lanford Wilson

directed by Kim Rubinstein

Preview:   Nov. 13 @ 7:30pm
Show dates:   Nov. 15, 16, 22, 23 @ 7:30pm,
                        Nov. 23 @ 2pm

Mandell Weiss Forum

About the Play

The setting is an all-night coffee shop on New York's upper Broadway, where the riff-raff, the bums, the petty thieves, the lost, the desperate of the big city come together. The movement of the kaleidoscopic in effect, a surging mosaic of overlapping and interrelating speeches and action as separate goals and characters are blended together around a common center. At the core of the play are Joe and Darlene, two young people who would seem to have the strength and the need to transcend the turmoil and ugliness of the life in which they found themselves— but are, instead, crushed by it. But their loss is quickly absorbed in the maelstrom, as the others go on desperately seeking the joy and release and purpose in life which will, most certainly, continue to escape them. (dramatists.com)


About the Playwright
 
Lanford Wilson was an American playwright. His work, as described by The New York Times, was "earthy, realist, greatly admired [and] widely performed." Wilson helped to advance the Off-Off-Broadway theater movement with his earliest plays, which were first produced at the Caffe Cino beginning in 1964. (Wikipedia)

About the Director

Kim Rubinstein was most recently Long Wharf Theatre's Associate Artistic Director where she directed Guys and Dolls, Midsummer Night's Dream, Private Lives, Santaland Diaries, and The Cocktail Hour. This past summer she directed Much Ado About Nothing for Shakespeare Santa Cruz. Other regional credits include The Intelligent Design of Jenny Chow (Portland Center Stage and San Jose Rep), Romeo and Juliet, Macbeth and Julius Caesar (Chicago Shakespeare), Love's Labour's Lost (Next Theatre), The Tempest (Southwest Rep), The American Plan and Eloise and Ray (Roadwoarks), Pan and Boone (Running with Scissors), Baby With The Bathwater (Roundhouse Theatre, Berkshire Theatre Festival), Beckett Shorts (Berkshire Theatre Festival, Splinter Group's Buckets O'Beckett Festival. She was Associate Director with Michael Mayer and Tour Director of the National Tour of Angels In America.

Her other teaching credits include ten years on the acting/directing faculty at Northwestern University, University of Chicago, Brown/Trinity Consortium, Wesleyan University, NTI at The O'Neill Center and a ongoing teaching gig with the School at Steppenwolf. Kim has been very active in the development of new plays and has directed many readings and workshops at places like New Dramatists and Long Wharf. 

Ms. Rubinstein is a recipient of the TCG/NEA directing fellowship and was nominated for the Alan Schneider Directing Award, among other awards for her directing and teaching. Upcoming projects: SANTALAND DIARIES at the Long Wharf, THE AMERICAN PLAN at The Old Globe.


Director's Statement

BALM IN GILEAD takes place over a three -day period at the end of October (Halloween time) in an all-nite diner in New York’s upper west side where lost souls lurk. The diner is a haven and hang-out for social outcasts—hustlers, hookers, junkies, bums, dealers, thieves—all Dreamers running on empty but running just the same. Wilson calls them “losers who refuse to lose”. The play is awash in rock-and -drug culture of the 60s. Although the first production at NYC’s La Mama Experimental Theatre Club was a surprise smash hit (nobody had ever seen anything like it –and indeed there continues to be no play like it)—it was restaged off-Broadway in 1984 in a collaboration between Circle Repertory Theatre and Steppenwolf Theatre (both ensembles), directed by John Malkovich and starring Gary Sinise, Laurie Metcalf, Terry Kinney, Jeff Perry, Glenne Headly, Giancarlo Esposito, and Danton Stone, among others. This revival was even more of a stunning hit than its first production, and catapulted Steppenwolf into national fame.

Kaleidoscopic, funny, poetic and RAW, each character has their particular jazz, their particular beat which is quite detailed and authentic—it is a documentary-like representation. Wilson wrote the play while eavesdropping in a diner, and then added his very unique musical score to its authenticity.



The Cast

Joe – Garrett Schulte
Dopey – David Price
Tig – Michael Rishawn
Darlene – Christine Penn
Ann – Emily Stout
Fick – Corneilus Franklin
Frank – Ahmed Baig
Kay – Vrindavani Moujan
Franny – Jimmy Xie
David – Ben McLaren
Judy – Sabina Fritz
Terri – Juliana Scheding
Rust – Arianna Fawk
Bonnie – Nat Tran
Ernesto – Joseph Maldonado
Xavier/Stranger – Joseff Paz
Carlo – Alejandro Carrera
Marty – Jamie Scangarella
John – Alex Savage
Tim – Elijah Douglas
Rake – Adham Habibi
Babe – Teagan Rae



The Creative Team

Director – Kim Rubinstein
Scenic Designer – Hsi-An Chen
Costume Designer – Christopher Flagstad
Lighting Designer – Mextly Couzin
Music Selections –  Kim Rubinstein
Sound Coordinator – Salvador Zamora
Vocal Coach – Eva Barnes
Fight/Intimacy Choreographer – Zev Steinrock
Assistant Director  – Yan Chen
Assistant Scenic Designer – Michael Wogulis
Assistant Costume Designer – Tommy Goss
Assistant Lighting Designer – Russell Chow
Assistant Lighting Designer – Dean Collins

Production Stage Manager – Amber Dettmers
Assistant Stage Manager – Rebekah Fegan
Assistant Stage Manager – Emily Searles
Production Assistants – Celine Castro, Alex Luong

Scenic Crew – Sol Garay, Constance Kezar, Costume Crew Basant El Ghayati, Christina George, Allie Delong, Sarah Taylor Lighting Crew Licheng Zhang, Devin McKenna, Jacqueline Arroyo
Sound Board Op – Myasia Fox



Performances Parking & Location

Located at: Mandell Weiss Forum

Parking Passes Required daily.
Weeknight passes are $2 per vehicle from the vending machines located in the UC San Diego Theatre District/La Jolla Playhouse parking lots and entry display case. Please remember your parking space number. You will need it to purchase your parking pass.

There is no free parking in the campus parking lots on the weekends; parking permits are required on the weekend. There are no-cost and low-cost parking options:
    • Park in the "Weekend Free Lot" at P782 and walk,
      bike, scoot or - shuttle to your final destination.
    • Purchase parking through the Parkmobile app or
      campus parking pay stations. You will receive the
      first hour for free and additional time costs just
      $1.50 per hour.
    • If you are parking for more than three hours, you
      can save by purchasing a one-day "D" permit for
      just $4. (D permits are valid in A, B, S, and V
      spaces on the weekend unless there are signs
      indicating otherwise.) Just use the Parkmobile app
      and enter zone number 4761.
    • Skip one-day permits altogether and purchase
      unlimited night and weekend parking for $20/month.

Note: Machines take all major credit cards except Discover and when paying with cash you must use exact change, NO CHANGE GIVEN.

http://theatre.ucsd.edu/places/parking.html

Cars without permits are subject to ticketing by UCSD Campus Police. The Theatre & Dance Department does not have the authority to waive and cannot pay parking tickets.

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Nov. 13

Nov. 15

Nov. 16

Nov. 22

Nov. 23

Nov. 23
7:30 pm     PREVIEW

7:30 pm     OPENING


7:30 pm  

7:30 pm  

2:00 pm

7:30 pm     CLOSING
Tickets

Tickets

Advance tickets for this production are available only online through the "Click here for tickets" button above. You can purchase tickets online on your phone the night of at the theatre.

At-the-Door tickets, if available, can be purchased one hour before show time at the performing theatre’s box office.

You can also leave a message at  858-822-3152 with questions and we will get back to you.

General Admission: $20
UCSD Faculty/Staff/Alumni Association, and Seniors (over 62): $15
UCSD Students/UCSD Alumni Association (with ID): $10

Please note: No late seating; no refunds.


Theatre & Dance Faculty, Staff & Majors Only >>

 

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