Madame Walker Theatre

Peking Acrobats keep audience
at the edge of their seats

Before the Peking Acrobats took the stage at the Madame Walker Theatre, a deep, intimidating voice resounded through the speakers: “What you are about to see on stage takes years and years of practice. Do not try this at home.”

Thank you for that warning, Big Voice, because my 11-year-old son and 9-year-old daughter bounced in their seats for the rest of the show — apparently mesmerized at the amazing feats the human body is capable of accomplishing with just a few simple household items.

There was a certain charm to the Peking Acrobats performance that is lacking in the more flashy high-tech shows to which we’ve become accustomed over the years.

Hailing from the People’s Republic of China, the gymnasts, jugglers, cyclists and tumblers who make up this show have been trained in folk arts that date back more than 2,000 years ago. With nothing much more than kitchen chairs, plates, spoons, tables, pottery and bottles, the mostly young crew that formed the Peking Acrobats performed daredevil feats that had the audience in constant awe.




The act that had us all collectively holding our breaths came when a young acrobat balanced a white chair on four ordinary bottles. This was the foundation for his performance, which involved him adding chair after chair after chair after chair — until he had practically reached the top of the theater’s towering ceiling. There were no trampolines or any other safety device to catch him if his performance went awry.

That was the case with all the performances — from spinning porcelain plates and contortionist acts to a bicyclist balancing about nine other acrobats as he cycled around the stage: This could be quite dangerous if anything went wrong.

So, if you plan to take your family to see the Peking Acrobats the next time they come into town, take heed of those opening words of wisdom: Don’t dare try these death-defying feats at home.

by Shari Scales Finnell

Indianapolis Symphony Orchestra

Music lovers get a taste of Eastern Europe

Bloomington-born Jonathan Biss was at the piano in an Indianapolis Symphony Orchestra concert that featured works by Mozart, Bedrick Smetana and Antonin Dvorák.

The 28-year-old pianist, who represents the third generation in a family of professional musicians, performed Mozart‚s Piano Concerto #21 in C Major, one of Mozart’s most popular compositions and an enduring work of the piano repertoire.

Following a dynamic and spirited performance of Czech composer Smetana’s Sárka, from his 1882 set of symphonic poems, “Má Vlast,” Biss took the stage for a sparkling, near flawless interpretation of the Mozart — with an especially restrained adante, the concerto’s well-known second movement.

Guest conductor Jakub Hrusa commanded an easy presence at the podium. He brought the concert to a rousing conclusion with the ISO’s debut performance of his fellow countryman Dvorák’s Fifth Symphony in F Major, the four movements of which incorporate elements of children’s song and Slavic folk melodies.

by Dan Kraner

Indiana Repertory Theatre - The Microwave Dostoevsky

The Microwave Dostoevsky:
Crime and Punishment in 90, short minutes

by Dan Kraner

Understanding a bit about novelist, essayist and philosopher Fyodor Dostoevsky before you see Crime and Punishment will deepen your understanding of the play. Even today Dostoevsky, along with Tolstoy are considered Russia’s two greatest novelists.

Dostoevsky was born in the Malinsky Hospital for the Poor in Moscow in 1821 where his father was a physician. Growing up surrounded by an orphanage, a lunatic asylum and a cemetery for criminals would profoundly affect — as you can imagine it would — his outlook on life, and Dostoevsky developed a compassion for the downtrodden at a young age. When Dostoevsky was 28 years old he was arrested and exiled to Siberia for nine years for opposing the Tsar of Russia. This experience also profoundly changed the playwright.

Dostoevsky returned to Saint Petersburg in 1859 and there wrote many more literary journals and novels, including Crime and Punishment.

Adapted by playwrights Marilyn Campbell and Curt Columbus, Indiana Reprtory Theatre’s three-actor adaptation compresses this staggering novel into a 90-minute rush of tension between a young student and a police inspector. Raskolnikov, the student played by Butler graduate Andrew Ahrens, and police inspector Porfiry, played by Chicagoan Peter DeFaria, debate criminal intentions in a world gone mad with lawlessness and self-interest. Jenny McKnight masterfully plays the part of Sonia and rounds out the trio.

The key question of the story is Raskolnickov believes he somehow is exempt from moral condemnation — that his intelligence and drive place him above the law.
Is killing one person moral justification for saving hundreds? It’s a premise that fires the imagination and sends people out of the theater provoked in debate-filled conversation.

Crime and Punishment continues through March 8 on the Upperstage at Indiana Repertory Theatre. Show times vary. Tickets are $34-$49. Call (317) 635-5252 or log on www.irtlive.com.

Conseco Fieldhouse

Cirque du Soleil’s upbeat Saltimbanco
provides a lighthearted diversion

by Shari Scales Finnell

Diehard Cirque du Soleil fans weren’t let down when its traveling arena show Saltimbanco arrived in Indianapolis. As usual, Cirque delivered an over-the-top experience under the “Big Top” at Conseco Fieldhouse.

Unlike the moody MystÈre, the last Cirque show I saw in Las Vegas, Saltimbanco was light-hearted, playful and packed with energetic aerial and acrobatic performances. Even when a dark character in a black hood made his way to the stage — sort of an odd departure from the show’s upbeat tempo — the audience was in for a surprise twist that had everyone laughing.

The international roots of Cirque were evident here with performances that included a breathtaking Chinese pole act, a pair of daring Argentines twirling boleadoras (cords with weights attached to the ends), and a cast of Russian acrobats making death-defying leaps to create human pyramids.

Saltimbanco — which is set in an imaginary urban city — also teems with a cast of characters that continuously move on and off the stage, depicting various types of urbanites. For example, the Vers multicolores, whose costumes seem to blend in perfectly with the patterns on the stage, represent the conventional among us.

Surprisingly, one of the biggest crowd-pleasers was an audience member who probably never set foot on the stage until the night he attended this performance. Eddy, a comical character, grabbed him from his seat and led him through a series of antics that had everyone howling. The good-natured guy played along superbly — more than earning his 15 minutes of fame that night.

Other highlights included The Singer, whose voice was magnificent — worthy of any Broadway production — and the jazz-inspired selections throughout.

Overall, Saltimbanco is a family affair. There was something for people of all ages to enjoy.

Beef and Boards Dinner Theatre

Andrew Lloyd Webber’s musical classic is the cat’s meow

by Rebecca R. Bibbs

Andrew Lloyd Webber’s musical masterpiece Cats appears to have had at least nine lives, the latest one at Beef and Boards Dinner Theatre. Known as much for the grand makeup and imaginative costuming as for the score or storyline, this production of the musical that won seven Tony Awards didn’t disappoint,

Based on T.S. Eliot’s “Old Possum’s Book of Practical Cats,” it features 26 felines with fanciful names like Rum Tum Tugger, Bustopher Jones and Griddlebone, on the eve of the Jellicle Ball.

The large cast used the entire theater, top to bottom, just as cats would. The highlights included the entrance of Ty Stover as the majestic patriarch of cats, Old Deuteronomy, and the magical dance of Mr. Mistoffelees, played by Philip Groft, and, of course, the performance of the musical’s signature song, “Memory,” by Sandra Simpson.

Though most clearly had professional dance experience, there was one member of the cast who clearly didn’t. He just didn’t have the extensions of the other performers, and there were some times where it really showed.

Though Cats set records in London and on Broadway, running 21 and 18 years respectively, it’s run at Beef and Boards is only through April 5. Show times vary. Tickets are $34-$57 and include a dinner buffet before the show. Call (317) 872-9664 or log on www.beefandboards.com.

Murat Theatre

Movin’ Out’s energetic performance can’t
quite overcome plot inadequacies

by Dan Kraner

The difference between attending a theatrical or musical event for review and attending for sheer enjoyment is that usually you have investigated a performance prior to that attendance, or your have relied on positive word of mouth or praise from friends before shelling out the ticket price.

Let this review be your guide should this show come to Indianapolis again.

The performance of Movin’ Out, conceived by dance diva Twyla Tharp using the music of Billy Joel, begins abruptly with a prologue, set to “It's Still Rock 'n' Roll to Me,'' in which the characters introduce themselves. There are five fully defined characters: Eddie and Brenda the king and queen of the prom, who break up soon after the show begins — to the strains of ''Scenes From an Italian Restaurant''; James and Judy, whose love seems more durable; and Tony, part of a tight trio of friends with Eddie and James.

One could almost see the shock of the audience early in the performance at Murat Theatre when they realized there is no dialogue and only a thin thread of story line woven through each Billy Joel song (imagine Mama Mia minus the comedy, story line or dialog).

From a technical standpoint, Movin' Out is quite an achievement. Though there are scenes and individual dramatic divisions in the story, the dancing is, for most intents and purposes, nonstop and amazingly energetic. The dancers devote themselves fully and provide an excellent, though not outstanding performance.

There's a plot synopsis provided in the Playbill, and for good reason: Movin' Out falters in telling its story. As incredible as the dance appears, it inadequately communicates plot or emotion. With no spoken dialogue, the characters and story occasionally can be a challenge to follow.
The most exciting part of the performance is the lead piano and singer in the band, which is perched on a floating platform above the main stage and the dance numbers. The rest of the band is strong and entertaining as well, but it’s the lead performer who really shines, belting out one Joel hit after the other for the better part of two hours — without intermission.

Phoenix Theatre

The Seafarer cast delivers great
performance for a predictable story

by Andrew D. Smith

The front of the program provided by The Phoenix Theatre states, “Politics with fire, Spirit with fire, Suspense with fire, Race with fire, Seduction with fire, Plays with fire.” Unfortunately, the latest offering at the Phoenix, The Seafarer, provides more simmer than sizzle.

It’s the story of Sharkey, a man with a tortured alcoholic past that includes a poker game with the devil while in jail for accidentally beating a man to death. Sharkey wins the poker game and the devil, being the poor loser he is, manages to con Sharkey into a rematch at a future date. The Seafarer is the story of that future game of chance with the devil.

The beautifully designed set and superbly directed and acted performances cannot make up for the blandness of the story. Borrowing from elements of The Devil and Daniel Webster, Crossroads, and any number of “deals with the devil” plays, books and movies, The Seafarer takes no risks and provides no fresh insight of this tried and true idea. When describing the play to my girlfriend’s 12-year-old son, his response of “Oh, now that is original” perfectly illustrates the story.

With that being said, the set designed by James Gross was absolutely stunning and really created a great ambiance for the story. Though limited in space, his usage of prop and spacing truly showcased the outstanding performance by the entire cast. Superbly produced by the talented Bryan Fonseca and admirably directed by Erik Friedman, the cast did everything possible to carry off the traditional story of regret, betrayal and bartering one’s soul for personal gain with the devil.

The cast was amazingly talented and did as much as it could with the banal story. Doug Johnson as Sharkey, the down on his luck, tortured, struggling alcoholic was especially poignant and portrayed his character with exceptional detail. Kurt Owens who played the sinister Mr. Lockhart paralyzed the crowd with slight glares and devilish mannerisms. He chillingly radiated evil and fear without being over the top or a parody. The remaining members of the cast, Michael Shelton as Nicky, Rich Komenich as Richard and Will Carlson as Ivan all contributed detailed and deep performances, which rescued the predictable story.

The front of the program provided by The Phoenix Theatre states, “Politics The Phoenix Theatre is known for taking chances and delivering thought provoking, entertaining, topical performances. The Seafarer delivers on entertaining but falls far short of thought provoking or topical.

The Seafarer continues at 7 p.m. Thursdays and 8 p.m. Fridays and Saturdays through Feb. 28. Tickets are $25 or $15 on Thursdays and for audience members ages 24 and younger. Call (317) 635- 7529 or log on www.phoenixtheatre.org.

Clowes Memorial Hall

East meets West
The Shaolin Monks of China
team with LINES Ballet

by Alan L. Inkenbrandt

At first blush, kung fu and ballet are two art forms that don't seem to belong together in the same sentence, much less on the same stage. But under the guidance of choreographer/artistic director Alonzo King, the resulting blend is beautiful, seamless and hypnotic.

The world-famous monks of China's Buddhist Shaolin Temple have developed the martial art of kung fu for 1,500 years. Kung fu evolved from simple exercises and a form of self-defense to a rigorous discipline for both body and spirit. It is also, as a recent performance at Clowes Memorial Hall reveals, a highly expressive form of art.

For more than two decades, Alonzo King's LINES Ballet of San Francisco has collaborated with artists from around the world to forge a global vision of dance. In "Long River, High Sky," LINES' dancers incorporated Eastern-flavored moves into their highly contemporary repertoire.


Even so, clad in their traditional orange robes, the Shaolin monks seem both worlds and centuries apart from their Western counterparts — at first. Scene after scene, the two groups appear to merge and split away again, flowing together and apart in intricate and mesmerizing ways. The music, too, seems to morph from cutting-edge electronica to classical Chinese in ways that sound surprisingly natural. Both cultures remain distinct, yet united by a common grace and aesthetic.

The Shaolin monks delight the audience with their trademark acrobatic leaps and kicks, but dance remains the focus. The LINES dancers are amazing, with their intense, twisting moves performed with incredible grace and control. Together, they create a moving reminder of the power of art to unite us even as it celebrates our differences.

A pre-performance discussion and post-performance question-and-answer session allowed interested audience members to learn more about this remarkable collaboration.

Tags: Arts, Clowes Memorial Hall, Shaolin Monks, LINES Ballet, Alonzo King

Theatre on the Square

The Marriage of Marcus Tyler
Putting the “fun” in “dysfunctional”

by Laura Kruty

If you ever needed consolation that your family isn’t quite as crazy and obnoxious as you think, go see The Marriage of Marcus Tyler at Theatre on the Square.

The first act begins with the audience meeting the Tylers: mom Vicki, dad Donald, 16-year-old daughter Allison and 27-year-old oldest child Andrew, who acts as a sort of narrator throughout the show. There’s a sense of anticipation in the air as the family prepares to meet their younger son Marcus’ fiancee, Julie, for the first time.

There’s also a lot of bickering –– between Vicki and Andrew, Vicki and Donald, and Andrew and Allison. In fact, it also becomes too much, as what starts out as a simple argument often evolves into full-on yelling and screaming. Vicki seems especially annoyed with Andrew, who still lives at home and has been in college for nine years. It’s easy to see why: My guest and I often felt like punching Andrew to put an end to the smug, incessant — and sometimes unfunny — comments. He just doesn’t know when to stop, egging Vicki and Allison on until they reach a breaking point.

Julie, a sweet-looking blonde, arrives at the Tyler home, without
Marcus, who got held up for what is assumed work reasons. She quickly becomes uncomfortable around the Tylers, who continue their arguing and yelling and don’t do much to make their son’s future wife feel at home.

The second act begins with the arrival of Vicki’s parents, Jerome and
Alice Goodwin. Not coincidentally, it’s also an act full of laughs. In fact, we probably didn’t stop laughing until the end of the show. The grandparents are quite stereotypical. Jerome likes to tell war stories and is ripe with health problems. Alice is full of gossip about old family acquaintances and has to be told to open the shutter before taking a family picture. She also immediately thinks Julie is the Puerto Rican family “help.”

Marcus makes his first appearance shortly before the end of the show, stumbling inside after Andrew accidentally shoots him with Jerome’s gun. It wasn’t clear to me why the family — except Julie — brushed off the injury, not taking Marcus to the hospital right away. Instead, Andrew and Marcus talk together at the kitchen table, and we learn why Andrew is a class-A jerk toward Julie.

Overall, while the first act moves a bit slowly and is nearly headache-inducing with all its screaming and yelling, the second act is hilarious and has the audience in fits the entire time. You might even appreciate your family a little bit more afterward.

Warning: Though The Marriage of Marcus Tyler is full of laughs, it’s also peppered with the occasional four-letter word, so make it an adults-only evening.

The show runs 8 p.m. Fridays and Saturdays and 5 p.m. Sundays through Feb. 28. Tickets are $25 adults, $20 students and guests 62 and older. Call (317) 685-8687 or log on www.tots.org.

Tags: Arts, Theatre on the Square, The Marriage of Marcus Tyler

Clowes Memorial Hall

Hallelujahs ring through the ‘Hall’
at Butler University’s 21st Annual Gospel Fest

by Joni D. Clark

Clowes Memorial Hall was transformed into Clowes Cathedral as Butler University presented the 21st Annual Gospel Fest. The event was sold out, and the presence of the Lord was felt as the Reverend Clarence Moore, Pastor of Northside New Era Missionary Baptist Church, led the house in prayer.

Butler's Voices of Deliverance Gospel Choir followed suit, making a joyful noise unto the Lord. Then the mass choir of Northside New Era Missionary Baptist Church came on stage like a mighty army and rocked the hall.

At that point the room was ready for the first featured artist, gospel legend Yolanda Adams. She did a total of four numbers, including her signature song, “The Battle is the Lord’s.” In between songs, Yolanda spoke to the crowd about the importance of faith and trust in God. She also shared how her faith had helped her through 2008, which was a difficult for year for her. The lesson she carried away from that time was the significance of knowing who you are as a person. Self-defined identity, combined with faith, is the key to overcoming any obstacle. That being said, the Grammy and Dove Award-winner sang “”Victory,” which brought the house to its feet and had saints of all ages “putting their v’s up” as a sign of victory. The ministry of Yolanda Adams’ work is legendary in the world of music.

Ricky Dillard and New G were the final artists for the evening. This is not your grandmother’s church choir! They have a level of energy that is totally electrifying and stays high from start to finish. Their repertoire includes music covering a wide range of genres, both secular and sacred. Their performance with the choreographed moves of each song and Ricky Dillard’s creative genius as composer, singer and minister came shining through on Saturday. Mr. Dillard and New G sang songs from their eight CDs, including “Bless His Holy Name,” and “The Holy Place.”

Tags: Arts, Clowes Memorial Hall, Gospel Fest, Yolanda Adams, Ricky Dillard

Indianapolis Repertory Theatre

To Kill a Mockingbird remains an enduring
story of tolerance and racial awareness

by Rebecca R. Bibbs

When Harper Lee published her one and only novel, To Kill a Mockingbird, nearly half a century ago, she probably never envisioned seeing a president of color in the White House. As she described the segregated Alabama courthouse where the 1935 rape trial of Tom Robinson took place, she surely never dared believe the doors to the White House would open to a Black man in her lifetime.

Though it seems we’ve come a long way — and maybe sooner than some of us imagined — To Kill a Mockingbird is a story remains all too real. Even for those of us who have not lived through the extremes portrayed in Christopher Sergel’s stage adaptation of the book, the harshness of those times for Black Americans remains alive in the experiences of those we love.

To Kill a Mockingbird is the tale of Scout Finch, portrayed by Tessa Buzzetti in Indianapolis Repertory Theatre’s performance, who witnesses the divisive trial and tries to sort out how a community can unjustly accuse a man simply because he’s Black.

On the surface, the adult themes and ugly realities may not seem appropriate for children. But To Kill a Mockingbird, seen through the eyes of Scout remains the most read book by high school students in the United States and has sold more than 30 million copies in 40 languages.

Each character plays a pivotal role in laying out the accusation and the issues behind it. IRT veteran Mark Goetzinger gives us a thoughtful Atticus Finch. Jonathan Tremaine delivers an empathetic Robinson. Robert Johansen plays the simpleton father Bob Ewell — successfully evoking sympathy for an ignorant, unsympathetic character. Dwandra Nickole lifts the mood with a little comic relief fussing at the children as she ushers them out of the courtroom.

To Kill a Mockingbird continues on IRT’s mainstage through Feb. 21. Times and ticket prices vary. Call (317) 635-5252 or log on www.indianarep.com.

Madam Walker Theatre

Birth of Soul gives birth to a new directorial talent

Joni D. Clark

Somewhere, the spirit of Sarah Breedlove smiles. The entrepreneur and patron of the arts better known as Madame C J Walker would have given her blessing to the collaborative work that produced Birth of Soul, written by and starring Joyce Licorish and performed in the theater named for Walker.

The Walker Theatre approached Licorish, who describes herself as an entrepreneur, to put together a show tracing the genealogy of soul music. This was Licorish’s opportunity to fulfill her desire to share with audiences the origins, breadth, depth and influence of soul music. And her directorial debut in honor of Black History Month is nothing less than inspired and a bit miraculous. Licorish put the production together in about two weeks.

Birth of Soul is a history lesson and love story rolled into one. Principal Witsum, played by LaTasha Strahan, is pinch-hitting for one of her teachers, Ms. Strickland, who is away attending a conference. The class is learning about the history of soul music with a little help from the school janitor, Mr. Crisp, played by Rick Davenport.

It quickly becomes evident that Mr. Crisp has taken a fancy to Principal Witsum and that love is in the air, but so is the music! Through a series of flashbacks, the audience is surrounded by the tunes of Mahalia Jackson, Nat King Cole, Etta James, Billie Holiday and Fats Domino.

The cast for Birth of Soul is a cornucopia of singing and dancing talent; Karen Ivy-Brown, Tori Gowdy, Alaina Woods, Travasha Winfrey, Deaon Smith, Bashiri Asad, Brian Kelley, Clifton Willis, Juan "Pariah" Cosby, Allan Washington, April Armstrong and Paul Gallamore did justice to every song. Equally awesome is the work of the band, consisting of Music Director/Pianist: Vincent Howard, Michael Hogan
Pancho Benton, Steve "Blaque" Wright, Mark Armstrong and Stephan Hiser.

Birth of Soul continues through Feb. 8 at the Madame Walker Theatre. Times vary. Tickets are $15, $25 and $30. Log on www.walkertheatre.com. For additional information on Birth of Soul, log on www.birthofsoul.com.

Indianapolis Civic Theatre

Enchantment awaits in Enchanted April

by Lindsay Eichelman

During a week when Indianapolis was slammed with nasty winter weather, April seems like a welcome spot that is still too far away. However, by stepping into the friendly atmosphere of the Indianapolis Civic Theatre for a Sunday afternoon, the audience was taken on a beautiful journey to Italy that was full of friendship, revelations, life lessons, laughter and love that was indeed enchanted.

Enchanted April is a story of two women, Lotty and Rose, who are tired of rainy post-World-War-I London and their husbands. Feeling restless and unsatisfied, the women conspire to rent a castle on the Mediterranean in Italy, where they are promised “wisteria and sunshine.” Lotty and Rose set off, along with two other women, for the holiday of a lifetime. While in Italy, the characters have a chance to take a step back from their convoluted lives and see things for what they really are, gaining a new appreciation for their lives — complete with its “befores and afters.”

As I was transported to Italy in April, spring came to life. A renewed appreciation for my own life emerged along with the characters as I was reminded that sometimes we need to take a step back to appreciate things for what they really are. I found myself identifying with each character in some way: Lotty as the energetic, spontaneous, life lover; Rose as the cautious rule follower; Mrs. Graves as the person who just needs a little attention and Caroline who just wants to be understood. As the friendships grow and flourish between these four women, the audience is drawn into this fun-loving story full of laughter.

Enchanted April, a truly beautiful story of friendship, life and love that any woman can identify with in some way, continues through Jan. 15 at Indianapolis Civic Theatre on the campus of Marian College. Show times vary. Tickets are $21 and $28. Call (317) 923-4597 or log on www.civictheatre.org.

Afraid Not

Lindsay Eichelman
Public Relations Manager

Tuesday I was camped out on my couch as the snow pummeled Indianapolis watching The Biggest Loser. I’ve told you before, and I’ll tell you again: It is the most inspiring show on television.

While I was enjoying the show, a seed of thought was planted in my head when Dan, the largest man EVER to come on the show, had a minor meltdown on the treadmill as Jillian berated him. That was a seed of fear.

I watched as Dan struggled with his fear of running on the treadmill at 400+ pounds and envisioned with him snapping ankles and dislocated knees. I listened as he admitted being afraid it wasn’t possible to lose the weight and when pushed admitted that was because he didn’t know any differently. He struggled with the fact that when he looked in the mirror, he tried to envision a thinner person — but he couldn’t.

As I witnessed this breakdown, I got to thinking about my own fears. I try to be a relatively fearless person, but the bottom line is, there are a ton of things that scare me. I’m scared of losing a loved one, of failure (on so many different levels), of heights, of looking stupid, of small confined spaces — the list could go on and on.

And in some ways I’m afraid of winning AND afraid of losing this weight loss battle. Part of me is afraid to win the battle because then I could always backslide and fail again. Also, if I conquer this battle, what new battle will face me? I’m afraid of losing the comfort of comfort food and the old habits of my unhealthier life. A very small part of me wonders what will happen if I really do win? Will the world come to a screeching halt?

On the flip side, I’m afraid NOT to beat the weight battle. I’m afraid for my physical and mental health. I’m afraid if I don’t beat it, it will hinder me from accomplishing the things I want, and I’m afraid of passing on my weight struggle and unhealthy lifestyle to someone else.

The bottom line is everyone is afraid of something. Often, that fear is the very thing that causes us to fail. As we enter February, I’m adding to my healthy habits goal list one more item: stop giving in to fear. If nothing else, maybe by trying to reign in my fear and worry, I can eliminate some stress from my life. What are your fears and how to do combat them?

Pike Performing Arts Center

Heywood Banks delivers hilarious
clean humor for everyone

by Andrew D. Smith

Entering from the right side of the stage, a tall, bespectacled clothing disaster with long white hair and a familiar Colonel Sander’s beard bobbed and weaved to the microphone as the crowd cheered and welcomed comedian Heywood Banks. Banks slung his guitar over his shoulder, and the craziness, puns, one liners, and songs began.

“Hey, how do you like my new jacket. You can tell it is new because it still has a pin in it!” he said as a bowling pin fell from under the jacket onto the floor.

Fans of the Indianapolis-based radio program, The Bob and Tom Show, were well prepared for Banks’ act and gleefully joined in on the 10 novelty songs he performed. Accompanied by his guitar, the comedian performed all his standards, to the eagerly anticipated “One Eye Love”, “Fishing Worms,” “Big Butter Jesus” and, of course, the finale to end all finales, his signature song “Toast,” played on a toaster with two forks.

Banks also broke new ground by becoming one of the first comedians to incorporate our new president, Barack Obama, into his act effectively. Considered a difficult mark by comedians, Banks met the challenge with a new song titled “Mother-in-law,” an ode to the president’s bravery for allowing his wife’s mother to live with them at the White House.

Banks returned to the stage for an encore to perform the cheering crowd’s requests, “Looking at the World Through Fly’s Eyes” and “If Pigs had Wings.”



Between songs, Banks regaled the crowd with one liners and humorous puns related to current events, families and just plain weird stuff.

The crowd was a strange demographic of 40- to 60-year-old-plus adults — with a healthy mix of early teenagers and younger kids. Strangely absent were the normal bread and butter for comedians, the 20 to 35 year old adult.

Heywood Banks is an excellent comedian, whom all members of the family can enjoy. His act is quick, funny, and kids to adults laugh uproariously at his quirky take on life.