Balm in Gilead
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.
Dopey – Ken Beider
Al – J.J. Bevans
Bonnie – Jane Boal
Babe – Elisabeth Camera
Judy – Christine Florio
Ann – Joan Foley
John – Chase Foster
Rake – Ken Foster
Carlo, Xavier – Bob Gerchen
Tig – Glenn Gilbert
Darlene – Taylor Gilbert
Franny – Donovan Glover
Bob – Dean Howell
Ernesto – Patrick Hume
Tim – Carl J. Johnson
Joe – Patrick F. Kline
Martin – John Marlo
Fick – Mark Arthur Miller
Rust – Stevie J. Parker
Frank – Gwil Richards
Kay – Karla Richards
Stranger – Zaid Farid
Terry – Kathryn Totten
David – Bruce Wieland
Understudies – Shannon Dobson, John Falchi, Holly Butler, Susan Rome, Robert Coppel, Jeffrey Post, Martha Teagle, Logan Richards, Alicia Wollerton
Kids – Joey Baltazar, Jimmy Baltazar, Christina Baltazar
Director – Gino Cabanas
Production Stage Manager – Greg Arce
Set Design – Jerry Cabanas
Costume Design – Julie Miller
Lighting Design – David Steinitz
Prop Master – Alicia Wollerton
Light & Sound Operator – Gino Cabanas
Special Appearance by Michael Kline singing “Balm in Gilead,” music by William V Wallace, lyrics by John G. Whittier, and “Hope,” music by Chris Kreipl, lyrics by Gino Cabanas and Michael Kline.
“Director Gino Cabanas recreates the requisite drama verité, updating the play… and keeping the material timely… a startling 20-minute monologue by Taylor Gilbert as the diner’s resident innocent lamb is the high point of the evening and underscores the promise of this company… Designer Jerry Cabanas’ diner set is the real thing…” – Ray Loynd, LA Times
“… if you want to talk acting, stand back. There is some shattering work done in a show based on lyrical, authentic monologues… Mark Arthur Miller’s Fick is a disintegrating mass of heroin shivers, shambles, and shakes… Taylor Gilbert is very good as the naive Darlene – who quickly learns the gritty ropes. Her centerpiece monologue on a past, confusing relationship is so painfully real, you might as well be listening in from the table next to hers… Ken Beider’s Dopey, our social commentator for the evening, is another performance of strength and accuracy.” – Lawrence Enscoe, Daily News
“Balm in Gilead, the first production of The Road Company Theatre, presents a kaleidoscope of characters and conflicts… this motley crew trembles, titillates, and ultimately turns inward on itself… Balm in Gilead is a visual and aural delight… terrific performances by a talented cast…” – Linda Alcorace, Village View
“With a 27-member cast and an expansive playing area, director Gino Cabanas makes the most of the multi-layered work… the raw talent is exceptional.” – Connie Monaghan, LA Weekly
“They’re new, they’re ambitious, they’re talented and they’re open for business: The Road Theatre Company has gotten untracked with a commendable production of an exceedingly difficult play… the actors are excellent. They offer a fascinating gallery of on-the-edge characters… Patrick F. Klein brings an apt air of street smarts mixed with yearning nobility, and Taylor Gilbert offers freshness and feminity that is wholly engaging… they’ve fully succeeded at serving notice that theirs is a high-potential, risk-taking group with legitimate talent and dedication to ensemble theatre (against the odds in L.A.)…” – Richard Scaffidi, Drama-Logue
