Even World War II couldn't stop Mark Honeywell. It just slowed him down a little. After establishing himself in the business world by founding a Fortune 500 company, Honeywell committed to the creation of the Honeywell Memorial Community Center, dedicated to his late wife Olive and his parents. Construction began a year later, but the material and labor demands of the war did take a toll, stretching the process out over a decade. When the center was finally completed in 1952, it was obvious that community was at its heart: a roller rink and gymnasium gave residents a chance to bust out their skates and sneakers, and the lounge afforded grown-ups a place to play cards or talk about decoration schemes for their new nuclear-fallout shelters. More recent years have seen the addition of a 1,500 seat theater, a restaurant, and an art gallery.
After continually traversing the globe since its breakout television performance nearly 18 years ago, Riverdance returns stateside for a last hurrah. A cast of six principal dancers will clobber the stage with the stomps, taps, kicks, and tackles of traditional Irish step dancing, which, when synchronized with a live band and 18 troupe dancers, sends waves of rhythm cascading over all 3,200 seats of the regal Indiana University Auditorium. The show’s 18 scenes break into two acts: the first depicting the mythical beginnings of the Celtic people as they hatched from a kelpie's head, and the second portraying the Irish famine and ensuing wave of emigration.
“The South Bend area has needed an upscale, high energy comedy club for a long time,” says James Witty and Derek Davis, the business partners who ended South Bend’s comedy drought by opening The Drop Comedy Club in November 2012. The bustling venue keeps its calendar packed with visits from headlining comedians who have appeared on major networks such as NBC and Comedy Central. It also directs the spotlight toward up-and-comers ascending the comedy ranks, as well as a stable of house comics on call for all funny-bone emergencies. The club also sports a restaurant and a full bar that cater to social mingling, romantic dinners, or diners who want to stifle heckles from growling stomachs.
Dubbing the theater “The Palace” when it opened in 1921, Chicago architect J.S. Aroner strove to capture a regal ambiance with a patchwork of diverse, though uniformly opulent, building styles. Patrons today can spot baroque, Greco-Roman, and even art-deco designs as they drift through the restored rose, blue, and cream entryway. But in 1959, The Palace was crumbling, and it seemed that future generations would miss out on this aesthetic experience. A concerned citizen by the name of Mrs. Ella Morris swooped in, though, purchasing the building for an undisclosed sum and then selling it back to the city for $1, which she promptly blew on gumballs. Newly named, the theater welcomed such acts as Louis Armstrong, REO Speedwagon, and Fleetwood Mac in the ensuing decades until a major, two-year overhaul began in 1998. Now restored to its original condition, the venue hosts standup acts, Broadway musicals, big-name concert performances, and fully produced ballets.
While audiences laugh it up at the rib-tickling comedians, Morty's slick performance space entertains their eyes. Eschewing the dowdy aesthetic of many comedy clubs, Morty's features sleek, modern tables and chairs and a wood-paneled bar. A full menu of tasty food, meanwhile, quells hunger while drinks and craft beers cool tongues and help keep people from spontaneously combusting.