Destination Indy - Fall/Winter 2026

PREMIERE ISSUE

FALL/WINTER 2026

A R T S – C U LT U R E – E N T E R TA I N M E N T – D I N I N G

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BOOK BY FRED STUART MUSICAL ARRANGEMENTS BY GEORGE LUTON

SEPTEMBER 4-20

BOOK & LYRICS BY SCOTT GUY | MUSIC BY RON BARNETT BASED ON THE NOVEL BY DASHIELL HAMMETT

MUSIC BY STEPHEN SONDHEIM BOOK & LYRICS BY HUGH WHEELER

JANUARY 29 - FEBRUARY 14

APRIL 23 - MAY 9

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Issue # 1 / August 2026

IN THIS ISSUE

Joey Amato Publisher & Editor-in-Chief Mike Schaefer CEO

08. State of the Arts 10. Terrance Asante

Joe Whipple Chief Technology Officer

16. Dining Review: Nesso Italian Kitchen

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20. Indianapolis Opera

Editorial Contact editor@destinationindy.com

24. Contemporary Art Museum of Indianapolis

Advertising Contact ads@destinationindy.com •

28. Indy Drag Theatre 30. Kids Dance Outreach

Writers Britt Coundiff Elise Davis Nicole Griffin Alexis Hawkins Amy Lynch Rebekah McGuire Bikshya Saikia Shannon Samson Chi Sherman

32. American Lives Theatre 36. Indianapolis Black Theater Company 42. The Fountain Room 48. Betsy Baird

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WELCOME TO DESTINATION INDY There’s something incredibly special about Indianapolis—a creative energy that hums just beneath the surface, waiting to be discovered, celebrated, and shared. It’s a city filled with storytellers, visionaries, chefs, performers, and artists who pour their passion into everything they do. For years, we’ve been inspired by that spirit, and it’s what led to the creation of Destination Indy.

This publication is more than just a magazine; it’s a love letter to the arts and culinary communities that define our city. From the brushstrokes in a local gallery to the flavors crafted in our kitchens, Indianapolis is bursting with talent that deserves to be seen, supported, and elevated. Our own love for the arts has always been rooted in the way it brings people together—how a single performance, dish, or exhibition can spark conversation, connection, and understanding.

With Destination Indy, our goal is simple but meaningful: to highlight, promote, and help build Indianapolis’s arts and culinary communities. We want to shine a spotlight on both established institutions and emerging voices, ensuring that every corner of our creative landscape has the opportunity to thrive. Whether you’re a lifelong resident or a first-time visitor, we hope to inspire you to explore, engage, and experience the city in new ways.

As part of this exciting new chapter, we’re also proud to relaunch the Destination Indy website as a dynamic, user-friendly hub for the community. Beyond showcasing stories and features, the site now offers robust search capabilities including a comprehensive arts calendar. Additional features allow users to easily find “classes and camps,” “audition call-outs,” and “galas” happening across the city.

We will be unveiling even more features in the near future. Our goal is to make the platform not just informative, but truly useful—connecting people with opportunities to learn, perform, celebrate, and grow within Indianapolis’s vibrant arts scene.

This first issue is just the beginning. As we grow, so will our commitment to telling the stories that matter—stories that celebrate innovation, diversity, and the vibrant culture that makes Indianapolis truly unique. Through our website, print publication and new television show in partnership with WISH-TV/ WNDY, we will shine a spotlight on our city’s greatest treasure…the arts!

None of this would be possible if it weren’t for our business partners Joey Amato and Joe Whipple, and a number of Art’s leaders who have helped hone this vision. We want to thank them for their ongoing hard work and determination in making this project a reality.

Thank you for joining us on this journey. We invite you to dive in, discover something new, and most importantly, support the artists, chefs, and creatives who make this city shine.

Warm regards, Mike Schaefer, CEO/Founder & Jeff Brinkmann, Founder 6 ESTINATION INDY D

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Photography: Ben Rose

Twenty Years on Mass Ave: ARTS, COMMUNITY & THE FUTURE

By Joey Amato For twenty years, Pauline Moffat has had the privilege of watching Indianapolis reinvent itself through the arts.

and audiences all deciding that the arts mattered enough to fight for.

“When I first arrived in Indianapolis in 2005, people talked about downtown very differently than they do today. Mass Ave was emerging, but still fragile; a corridor of beautiful historic buildings, hopeful business owners, artists, empty storefronts, and enormous possibility,” stated Moffat. “There was a growing belief that the arts could do more than entertain. The arts could transform an entire neighborhood.”

“Mass Ave itself has undergone one of the most remarkable urban revitalizations in the Midwest. In the 1970s and early 1980s, much of the avenue was boarded up and neglected. Today, it is one of Indianapolis’ defining cultural destinations: home to theatres, galleries, restaurants, music venues, festivals, apartments, public art, and creative businesses.”

One of the most important moments in that transformation came from a community conversation initiated by Brian Payne at CICF that asked a deceptively simple question: What could make downtown Indianapolis vibrant, walkable, creative, and alive?

That same spirit landed in Indianapolis through Mayor Bart Peterson’s Cultural Tourism Initiative and the “Theatre City Indianapolis 2012” discussions, which helped imagine a downtown driven not only by sports and conventions, but by culture, experimentation, and creativity.

“IndyFringe became one of the sparks,” she mentions.

“The idea was inspired by the original Edinburgh Fringe Festival, the legendary movement born in Scotland in 1947 when independent artists performed outside the official festival because they simply believed their voices deserved to be heard.”

What followed over the next two decades was not accidental. It was the result of artists, entrepreneurs, neighborhood advocates, donors, city leaders, volunteers, 8

Anchor institutions mattered enormously in that rebirth.

The Athenaeum, Old National Centre, Theatre on The Square, Phoenix Theatre, IndyFringe, galleries, small music clubs, coffee shops, and later organizations like The District Theatre all helped create the ecosystem that turned Mass Ave into a true arts and entertainment corridor.

“What made Mass Ave special was never simply commerce. It was the collision of ideas,” Moffat states.

“People could wander from experimental theatre to jazz, from visual art to drag performance, from spoken word to dance, all within a few blocks. The avenue became a place where creativity felt visible and accessible and where artists and audiences shared the same sidewalks and coffee shops.”

She continues, “When we reopened The District Theatre in 2018 following the transformation from Theatre on the Square, we believed deeply in that original vision. The goal was not simply to preserve a theatre building. It was to continue building a home for eclectic, accessible, and diverse performance in the center of the city.”

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STATE OF THE ARTS

Then came COVID. “Like every arts organization in America, we faced a moment of uncertainty. But one of the great lessons of the arts community is that creativity often thrives under pressure. We built an outdoor stage in the alley behind the theatre, and audiences returned to “theatre under the stars” because they needed connection, laughter, music, and shared experience. Those evenings reminded us that theatre is not a luxury. It is part of how communities heal.”

Today, The District Theatre welcomes more than 13,000 people annually through its doors. The programming ranges from Indianapolis Ballet to off-Broadway plays, new musicals, and productions from emerging local companies. The Indianapolis Black Theatre Company now calls The District home, and the Black Light Training & Development program is helping build a pipeline for new artists and theatre professionals.

Now Mass Ave stands at another important crossroads.

The newly launched “Mass Ave NEXT Vision Plan” is designed to gather community input and help shape the future of the district for the next generation. Nearly 7,000 residents now live within the Mass Ave community, and businesses, organizations, artists, and neighbors are being asked an important question once again: What kind of cultural corridor do we want this to become?

That conversation matters enormously. Because the next twenty years cannot simply be about development. They must be about balance.

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As downtown Indianapolis continues to grow, the challenge will be protecting the very artistic energy that made Mass Ave successful in the first place. Artists and small arts organizations were among the pioneers who helped transform underused historic buildings into destinations. “If we lose affordable creative spaces, independent venues, and opportunities for emerging artists, we risk losing the soul of the district itself.”

Moffat is optimistic, “the future must include intentional investment in culture, public gathering spaces, outdoor activation, affordable rehearsal and performance venues, artist development, and creative risk-taking. The arts are not a side note to economic development. In many ways, they are the reason people choose cities at all.”

People are drawn to places that feel alive and connected.

That is why philanthropy and civic leadership matter more than ever. The continued investment of individuals, foundations, businesses, and cultural advocates will determine whether Mass Ave remains merely successful or whether it continues to be genuinely creative.

“What gives me hope is this: every generation seems to rediscover the same truth. Young artists still arrive downtown looking for community, audiences still crave shared experiences, and people still gather around stories, music, and performance. Twenty years later, I still believe the original vision was right. The arts did help transform downtown Indianapolis. And if we keep the lights on, keep the doors open, and continue making room for new voices, they still can.”

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From Theater Kid to Community Builder: THE EVOLUTION OF TERRANCE ASANTE-DOYLE

By Nicole Griffin Photography: Asante Art Institute of Indianapolis

T

errance Asante-Doyle has been performing since before he knew what a career was.

From age eight through his early twenties, he competed for roles and took the stage as part of the Asante Art Institute — the Indianapolis organization his mother, Deborah Asante, founded in 1990 after the family relocated from the Bay Area.

In those early years, the mission was straightforward.

"The focus of the organization initially was just to provide a safe space for young creators, in hopes of activating their creativity," Asante-Doyle recalls. But watching his mother work left a deeper impression on him than any single performance. "I saw how art is loving the task and everybody is an artist in some way if they are passionate or love what they do," he says. "I think that's influenced how I move through the world."

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TERRANCE ASANTE

Hoping to carry that legacy forward on his own terms, Asante-Doyle enrolled at the University of the Arts in Philadelphia in 2000 with plans to become a professional actor. It didn't take long for reality to redirect him. "I realized that, maybe I don't want to be an actor," he says with candor.

"I think I might need a little bit more stability in regard to employment." He shifted his focus to business administration with a concentration in marketing, and after graduating and spending time working in Philadelphia, he returned to Indianapolis in 2006.

His next chapter unfolded far from any stage. Asante-Doyle took a position as a direct-care staff member at the Marion County Juvenile Detention Center, eventually moving into a leadership role by 2014. The work kept him close to young people, but in circumstances that looked nothing like the nurturing creative world he had grown up in.

That contrast proved transformative. Working with justice-involved youth, he began to understand with new clarity how much the Asante community had shaped him — not only as an artist, but as a person.

"In this community that is Asante, I was exposed to not only artists, but a community of leaders, Black leaders,"

he says. "They were very influential in driving some of the early arts and culture scene here in Indianapolis as it pertains to the Black populace." Surrounded by young people who had never had access to that kind of community, something clicked. "It was an epiphany or a watershed moment where I'm like, okay, I have to figure out a way to connect these two worlds."

In 2018, he returned to Asante as a volunteer and began doing exactly that. The result was CLAP — Creative Literacy and Arts Pathway — a strategy he developed that now guides programming across the entire organization. At its core is a conviction that literacy and the arts are inseparable.

"When you look at theater in general as a medium, it's built on literacy and your ability to read and understand or comprehend information," he explains.

"Literacy is the key to everything."

CLAP also reflects the influence of his mother's background as a historian. Her passion for cultural memory has shaped the institute's approach in lasting ways, most visibly through one of its most-used curricula, The Power of Freedom. "That's where we make the connection from literacy to art as activism," Asante-Doyle says.

Photography: Asante Art Institute of Indianapolis 12

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TERRANCE ASANTE

But CLAP is more than a curriculum framework — it functions as an entry point for entire families.

Asante-Doyle describes it as an engagement strategy designed to connect underserved communities to resources they might otherwise avoid or distrust.

"The art is the entry point for that family. It helps to destigmatize some of the mythology around system resources," he says. "We are trying to eliminate that barrier where families in underserved communities are able to access resources that really help enrich their life."

Today, the institute offers signature programs for youth ages 6 to 24, spanning performing arts, media arts, dance, singing, and visual arts. Partners include summer camps, schools, and organizations such as the Moorhead Community Resource Center, the Indiana State Museum, Conner Prairie, Pike Township, and the Department of Child Services. CLAP, Asante-Doyle is quick to clarify, is not a program itself. "CLAP is the umbrella that covers all these programs because CLAP is a strategy. The programs are the execution of the strategy."

As operations director, he oversees both the day-today and the long view. His ambitions include building a strong school-to-theater pipeline and establishing art and resource hubs across Indianapolis — places like the community that shaped him. "I'm a product of what an art and resource hub can do for a young

person," he says. What he hopes young people carry with them is something harder to measure than a skill set. "My biggest takeaway was a consciousness of worthiness," he says. "A lot of times, as an adult, as you move through the world, you have experiences that really test your worth and a lot of times that can be a breaking point for an individual if you don't have that calibration."

The mission, as he and his mother see it, has never really been about producing performers. "We realized that our goal has never really been to produce a performing artist," he says. "It's been to produce a quality human being." And the theater, in that sense, is simply the means. "You don't have to be an art kid or a theater kid to get that," he says. "The theater is just a tool."

What gives Asante-Doyle the most satisfaction these days is something he didn't anticipate when he first walked back through the institute's doors: the relationship he has built with his mother in the process of building everything else. "We have a friendship that has developed out of this on top of the mother and son relationship," he says. "I get the most enjoyment out of helping her visions become reality. That's a very intrinsic thing for a son to be able to do for a parent."

Thirty years after Deborah Asante founded a safe space for young creators on the north side of Indianapolis, her son is making sure that space grows.

Photography: Asante Art Institute of Indianapolis

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NESSO ITALIAN KITCHEN REVIEW

A Sophisticated Taste of Italy at Nesso Italian Kitchen

By Joey Amato Tucked inside the sleek and artfully designed Alexander Hotel in downtown Indianapolis, Nesso Italian Kitchen delivers the kind of upscale dining experience that feels both polished and inviting. Part of the acclaimed Cunningham Restaurant Group portfolio, Nesso has quietly become one of the city’s standout destinations for elevated Italian cuisine, blending contemporary creativity with rich Mediterranean influences. From the moment you step into the warm, modern dining room, accented by glowing light fixtures and sophisticated décor, it’s clear this is not your average Italian restaurant. Nesso is designed for lingering dinners, celebratory evenings, and indulgent culinary escapes.

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NESSO ITALIAN KITCHEN REVIEW

with the Crab Ravioli, which easily became my favorite dish of the night.

O

ur evening began with two appetizers that immediately set the tone for a memorable meal.

The Octopus arrived beautifully plated, almost too stunning to disturb. Tender, perfectly charred octopus rested atop a vibrant eggplant caponata, accompanied by toasted pine nuts, calabrese sauce, and a delicate dusting of oregano salt. Octopus can often be a risky choice, easily overcooked and rubbery, but Nesso’s kitchen executed it flawlessly. The texture was buttery and delicate, while the smoky char added depth and complexity. The caponata brought a slightly sweet acidity that balanced the richness of the seafood, while the calabrese sauce provided just enough heat to keep every bite exciting. It was refined, layered, and unmistakably Mediterranean.

Equally impressive was the Crispy Eggplant, a dish that transformed a humble ingredient into something decadent. Golden slices of eggplant were crisped to perfection without becoming heavy or oily, then layered with parmesan, black garlic-tomato jam, and aioli. The black garlic-tomato jam was particularly exceptional, offering a deep umami sweetness that elevated the dish far beyond traditional eggplant preparations.

Each bite delivered crunch, creaminess, and savory richness in perfect harmony. Even diners who normally view eggplant as an afterthought would find themselves fighting over the final bite.

As wonderful as the appetizers were, the true star of the evening arrived

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This dish embodied everything exceptional Italian cuisine should be: comforting, elegant, balanced, and unforgettable. Delicate ravioli pillows were generously filled with sweet crab and surrounded by a luxurious citrus butter sauce accented by corn, English peas, Calabrian chile, and parmesan. The balance of flavors was masterful. The sweetness of the crab paired beautifully with the brightness of the citrus butter, while the corn and peas added freshness and texture that kept the dish from feeling overly rich. The subtle heat from the Calabrian chile lingered gently in the background, enhancing rather than overpowering the seafood.

What made the dish particularly remarkable was its restraint. Many restaurants overload seafood pasta with cream or excessive seasoning, masking the natural flavor of the crab. Nesso allowed the ingredients to speak for themselves. Every component had purpose, and every bite felt luxurious yet approachable.

It’s the kind of dish you think about long after the dinner ends — sophisticated enough for a fine dining experience but comforting enough to satisfy on a deeply emotional level.

For entrées, we sampled the Chicken, a dish that once again showcased the kitchen’s ability to elevate familiar ingredients into something memorable. The chicken itself was expertly cooked, maintaining a juicy tenderness beneath a beautifully crisp exterior. Served alongside arugula, roasted peppers, tomato, whipped parmesan, and calabrese sauce, the

dish struck a careful balance between richness and brightness.

The whipped parmesan added an airy creaminess that complemented the savory depth of the chicken, while the roasted peppers and tomatoes introduced sweetness and acidity. Peppery arugula provided freshness that kept the dish vibrant and balanced. The calabrese sauce tied everything together with subtle spice and complexity. While chicken entrées can often feel predictable on upscale menus, this preparation demonstrated thoughtful execution and exceptional ingredient quality.

One of the highlights of dining at Nesso is the pacing and attentiveness of the service. Throughout the evening, the staff struck that ideal balance between professionalism and warmth. Plates arrived at a leisurely pace that allowed each course to be appreciated fully, yet there was never an awkward delay between dishes. Servers demonstrated extensive menu knowledge and genuine enthusiasm for the cuisine, offering recommendations without pretension. In a city where hospitality continues to evolve alongside the culinary scene, Nesso stands out for delivering a service experience that feels effortlessly polished.

The atmosphere itself deserves equal praise. The Alexander Hotel has long been recognized for its contemporary art collection and stylish aesthetic, and Nesso seamlessly reflects that same upscale sophistication.

The dining room manages to feel simultaneously energetic and intimate. It’s refined enough for a special occasion yet approachable DESTINATION INDY

NESSO ITALIAN KITCHEN REVIEW

enough for a spontaneous date night or celebratory dinner with friends. Soft lighting, modern finishes, and an open, airy layout create an ambiance that encourages guests to relax and savor the experience.

every detail carefully curated. While Indianapolis continues to grow into a serious culinary destination, Nesso firmly establishes itself among the city’s premier upscale restaurants.

No visit to Nesso would be complete without exploring its exceptional dessert menu, which proved to be a fitting finale to the evening.

Whether you’re visiting for handcrafted pasta, expertly prepared seafood, inventive cocktails, or simply an elegant night out downtown, Nesso offers an experience that feels transportive. It captures the soul of Italian dining — where food is meant to be savored slowly, conversation flows easily, and every course tells a story.

The Bombolino was playful, vibrant, and utterly addictive.

The lemon-ricotta donut arrived warm and pillowy, coated in raspberry sugar and accompanied by raspberry, lemon curd, and fresh mint. The balance of tart citrus and sweet berry flavors was refreshing and bright, while the ricotta added subtle richness without overwhelming the dessert.

It felt both indulgent and light — a difficult combination to achieve successfully.

The Olive Oil Cake offered a more decadent conclusion.

Moist and delicately flavored, the cake was paired with candied orange, chocolate sauce, and chocolate gelato.

The olive oil provided a beautiful depth and silkiness to the cake, while the citrus notes from the candied orange kept the dessert from becoming too heavy. The chocolate gelato added richness and creaminess that brought the entire plate together beautifully. It was sophisticated comfort food at its finest.

What ultimately makes Nesso Italian Kitchen special is its consistency in delivering elevated dining without sacrificing warmth or accessibility. Every dish feels intentional, every flavor thoughtfully composed, and

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OPERA: ANGELA BROWN

Opera Is for Everybody: Angela Brown and the Indianapolis Opera at 50 Organizations like the Indianapolis Opera ensure that the beauty of opera remains accessible — and Brown is central to that mission. As the company’s Artistic Cultural Ambassador, she has become one of its most visible and enduring figures.

Brown was born and raised in Indianapolis. Long before her career took off around 2004, she performed as a student with the Indianapolis Opera in the 1980s, appearing in the chorus of Aida in 1983. As her career flourished, she went on to perform at the Metropolitan Opera and major venues in Paris and Vienna. When she eventually returned home, then-General Director David Starkey invited her to serve as the company’s artistic ambassador.

“And he said, Angela, I want you to come on and be the artistic cultural ambassador of the Indianapolis Opera,” she recalls. “And I was like, well, what does that mean?”

Photograph: ©DM Palazon 2007

A

ngela Brown, the renowned African American soprano based in Indianapolis, lights up at the mention of her favorite subject: opera.

Having dedicated her life to the art form, she speaks with conviction when she says opera is for everybody.

“Yes, it is for everybody. And I can truly say that as opera singers, art directors, composers, and conductors, we are not operating on the brain or the heart — we are going for the emotion, the upliftment of mankind through this art form.

“It isn’t just sitting in a theatre and being entertained.

But what does it do to you when you leave? How does it touch you?”

Concise operatic works like Charlie Parker’s Yardbird demonstrate how opera can tell the story of a real human being compellingly enough to send audiences home wanting to learn more.

“It didn’t take all night to get a good storyline,” Brown says. “You don’t have to sit for an 11-course meal when you can condense it to a couple of courses and still be satisfied.”

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The answer: she would serve as the public face of the Indianapolis Opera, helping to draw talent from diverse ethnic backgrounds to the organization. Beyond that, she functions as its educational ambassador, giving master classes to resident artists and working closely with young singers.

Her own trajectory — from the chorus to principal roles including Aida, Tosca, and Ariadne — makes her a living example of what is possible. Having performed on the world’s great stages, she brings that experience back to Indianapolis and shares it with the next generation.

“Angela is all Indianapolis,” says Starkey. As an African American opera artist and a native of the city, she sends the message that anyone can do this — that people from any background, any neighborhood, can find a place in this art form.

Both the Indianapolis Opera and Brown’s own organization, Morning Brown, share a common mission: embracing all cultures and creating opportunities for deserving musicians who might otherwise never reach a major stage. The work is about meeting communities where they are and making people — especially young people who have never encountered opera — feel welcome.

Starkey, who has given himself fully to championing the vocal arts, is equally passionate about dispelling a persistent myth.

“Opera is not a dying art form,” he says. “It’s actually a growing art form. It’s just not in the pop culture arena.”

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OPERA: ANGELA BROWN

He points out that successful films and television have long drawn on operatic influences, and that pop culture remains deeply indebted to classical traditions. Opera, he argues, has been part of every generation and every culture — making it a true world art form.

People remember their first opera, Starkey says, because unlike most art forms, opera engages every sense simultaneously: dance, instruments, singing, pageantry, costumes, and light all converge to create something singular.

The Indianapolis Opera has been an artistically led organization from the start. It grew from a circle of experienced singers and teachers in the Indianapolis area, but as Starkey notes, sustaining an organization requires more than artists. “It takes civic leaders, business leaders, philanthropists to be the backbone.

So you’ve got to have both, and this company still represents that at the highest level.”

The company’s origins trace to early 1975, when voice teacher Miriam Raymaker — then at what is now the University of Indianapolis — assembled singers and teachers for an experimental production of Carlisle Floyd’s Susannah. It was well received. A second production followed, and the Indiana Opera Society was formally launched. At the time, no other opera company existed in the state; only a part-time festival, Whitewater Opera in the Richmond area, offered any comparison.

That early company produced two one-act operas, including an American 20th-century work featuring an African American soprano as its lead — a mixed cultural casting rare in the history of Midwestern opera. But the organization struggled almost immediately until civic and business leaders became involved, shifting its trajectory.

Angela as Addie and Larry as Charlie - Charlie Parker’s Yardbird Opera Philadelphia Photographer

The arrival of opera specialist Robert Driver in 1980 proved transformative. He gave the company its real operational shape, and it began mounting productions at Clowes Hall on the campus of Butler University. Over the next three decades, it developed into a training ground for young singers — including Angela Brown.

A major milestone came in 2020 when Indianapolis Opera purchased the Basile Opera Centre permanently.

T h e a c q u i s i t i o n c o n s o l i d a t e d t h e c o m p a n y ’s administration, artistic practices, education programs, rehearsal space, and production assets under one roof — creating both financial efficiencies and a true institutional home.

“It gave us the permission to say: this is our centre, but we need to go out to all of the communities now, not just the north side,” Starkey says. Basile is the anchor. From there, the company moves outward in every direction.

For Brown, the future of opera is secure. “Opera is in good hands,” she says. “Opera will continue to find its way in this new age. It will morph, and these young people are ready — they will bring us old heads into the future. The old-world techniques and the new ways that voice science is developing can meld together. In some aspects, they become the same.”

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Photograph: ©Denis Ryan Kelly Jr. DESTINATION INDY

OPERA: ANGELA BROWN

She points to her student Deja Watts — a finalist in the Metropolitan Opera competition — as an example of that promise: a singer with innate talent and a hunger for the craft who embodies the music rather than simply performing it.

As for Brown herself, the 50th anniversary gala was a moment of quiet astonishment. So absorbed in the work she loves, she had barely noticed the years accumulating since she first appeared in the chorus in 1983. What moved her was the chance to reconnect with others who had remained part of the organization — people who, like her, had kept operatic careers alive in one form or another.

“Opera lives,” she says. “And I want to be a part of that living legacy for Indianapolis Opera.” Her mission is to remain a force of change — one that keeps the city’s young people and older residents alike seeing themselves as part of this art form.

Starkey’s vision for the next decade is equally ambitious.

With a rebuilt financial portfolio, a permanent home, and the capacity to reach all four corners of the city and state, he believes the company will keep getting better — season by season, day by day.

“The Indianapolis Symphony is the champion of the instrumental arts,” he says. “And the Indianapolis Opera is the champion of the vocal arts.”

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CONTEMPORARY ART MUSEUM INDIANA

Indy’s New Contemporary Art Museum Wants to be Your Weekly Hang

By Elise Davis

I

ndianapolis’ newest museum, Contemporary Art Museum Indianapolis (CAMi for short), opened on May 1 of this year.

This new space, which offers free admission to all, is the latest project from Big Car Collaborative, a nonprofit that offers arts programs from its five-acre campus in Garfield Park.

The museum doesn’t collect existing artwork; instead, it commissions new pieces. This continues Big Car’s decade-long practice of working in that way. According to Jim Walker, who founded both Big Car and CAMi alongside his partner, Shauta Marsh, “The Tube opened in 2016 and was always a commissioning space. So, from day one, CAMi is continuing that idea. By not collecting things, we have a lot more flexibility in terms of being responsive to what's going on in the world.”

The CAMi campus serves as a home or workplace for dozens of artists.

Twenty-five are residents living in homes renovated and co-owned

by Big Car, and 18 have studios at

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CAMi. The staff members who keep CAMi running are also working artists, bringing the total to nearly 50 artists—including musicians, photographers, ceramicists, fiber artists, and more—connected to the space.

This gives visitors a remarkable level of access at CAMi, not just to art but to artists themselves. In a typical museum, “you see art on display, but you don't have the artist there just standing around,” Walker shared.

CAMi opened to the public after receiving $7 million in donations from various organizations and individual donors to renovate the building. Its founders fundraised aggressively to ensure the museum would remain both accessible and self-sustaining long into the future.

“Anybody who's donating toward this project—through a grant or an individual donation—they know that,” said Walker. “A hundred dollars or a hundred thousand dollars is going to support artists and support visitors and the public in having access to art.”

In planning the museum—and their larger vision for the campus as a whole—Walker and Marsh drew inspiration from around the globe. They looked to Donald Judd’s transformation of Marfa, Texas, including his adaptive use of existing structures. This influenced their renovation choices, which maintained—or uncovered—much of the original character of the nearly 100-year-old building that houses CAMi. “We really followed the path of the buildings,” Walker shared.

That meant, among other projects, uncovering the original windows.

They were first used for ventilation when the building served as a barn, but in the intervening years they had been boarded over. Reopening them restored natural light to the space.

They also drew inspiration from Mass MoCA in North Adams, Massachusetts; The Mattress Factory in Pittsburgh, Pennsylvania; Atlanta Contemporary in Atlanta, Georgia; MOCAD in Detroit, Michigan; and other institutions.

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CONTEMPORARY ART MUSEUM INDIANA

When asked what makes the Indianapolis art scene unique, Walker shared, “It's a very wellconnected place. And, you know, there's tons of crossover. It helps make it easy to connect.” That sense of connection came in handy during the renovation, when Walker and Marsh assembled a world-class team of artisans, designers, and fabricators to complete an ambitious project on a tight timeline. “ Yo u k n o w, t h e r e ' s a l w a y s competitiveness or whatever, tensions

and situations,” Walker reflected.

“But this is a town where people will support each other, and the relationships and the ways that we support each other can be reciprocal.

So, there's a lot of reciprocity in this community, and giving and giving.

Taking gifts that we receive and giving them out to other people.”

ticket price, you can come back and just experience it. You can go visit the stores and see what's new with them. You can see the studio artists that are open. There's a library or writing room in there. You can go and get a book. You could sit there.

You could get your notebook out and maybe write some poems.”

When visiting CAMi, Walker hopes guests will explore Garfield Park as a whole. “I feel like that's the future of the success of this building. The storefronts and the studios, and also the other retail buildings and businesses that are popping up, and restaurants and things around here.”

“How can you enjoy the space?”

Walker asks visitors to consider.

“Some people come in here multiple days a week, and it's just their space.

They come and hang out, and they draw or read a book. It's their home away from home.”

Looking toward the future of CAMi and its broader campus, including Tube Factory Artspace, Guichelaar Gallery, WQRT, artist housing, The Chicken Chapel of Love, and more— Walker wants visitors to treat it as a type of third space: “There's a lot of places [at CAMi] that you can hang out, and you can just experience art, and get a cup of coffee, or you can bring your friend and talk. By not having any

CAMi is located at 1125 Cruft Street, Indianapolis, IN 46203.

The museum hours are: WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY

11 am - 7 pm 11 am - 7 pm 11 am - 7 pm 11 am - 5 pm 11 am - 5 pm

On First Fridays, their hours are extended until 10 pm.

Admission is free.

P R E S E N T S

TWO WEEKENDS ONLY

OCTOBER 2-4 & 9-11 MCGOWAN HALL 1305 N. DELAWARE STREET

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INDY DRAG THEATRE

Indy Drag Theatre Is Transforming Indianapolis’ Arts Scene Through Queer Storytelling and Drag Musicals

By Britt Coundiff Founded in 2021 by April Rose and Indianapolis native and Blair St. Clair, Indy Drag Theatre began as a passion project among friends determined to create something Indianapolis hadn’t seen before. What started as an intimate creative experiment has quickly evolved into one of the city’s most dynamic nonprofit theater companies, blending drag, musical theater, and queer storytelling into immersive productions that celebrate authenticity, artistry, and community.

Equally important is the organization’s commitment to collaboration. While performers often take center stage, Indy Drag Theatre depends on an entire network of creatives behind the scenes — including dancers, actors, costume designers, wig stylists, makeup artists, stage managers, photographers, technicians, and volunteers.

“Theatre takes a village,” Rose said, emphasizing the organization’s community-driven approach.

For those interested in experiencing Indy Drag Theatre firsthand, the company’s upcoming production, Night School: A Drag Parody Musical, opens August 21 at the Phoenix Theatre Cultural Centre. More information about performances, volunteer opportunities, and ways to get involved can be found at www.indydragtheatre.org.

For co-founder and Creative Director April Rose, the vision was always rooted in creating a welcoming space where LGBTQ+ performers and audiences could feel represented both on stage and off. “When we first started Indy Drag Theatre, it honestly just came from a group of friends wanting to create something different,” Rose shared. “We wanted to make space for queer performers to tell stories through drag in a way that felt theatrical, exciting, and accessible.”

Despite limited resources in the beginning, the company’s founders relied on deter mination, creativity, and a deep belief in the importance of queer storytelling. In just a few short years, Indy Drag Theatre has transformed into a full-scale production company staging elaborate drag musicals, original performances, and large theatrical events that continue to attract growing audiences from across the region.

Today, the organization is as much a community hub as it is a theater company. Partnerships within Indianapolis’ arts scene have helped fuel its rapid growth, while audiences continue to show enthusiastic support for productions that push creative boundaries. Rose says each season is carefully curated to offer something unexpected. Some productions lean into camp and spectacle, while others deliver emotional depth and theatrical sophistication.

“We’re always asking ourselves, ‘What haven’t we done yet?’ and ‘What could surprise people?’” she explained.

That spirit of innovation has helped Indy Drag Theatre carve out a unique identity within Indianapolis’ thriving arts community. Through dazzling costumes, live performances, and reimagined musicals, the company continues to challenge expectations of what theater can look like while making drag more accessible to mainstream audiences.

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A Voice. A Stage. A Story.

52nd Season

September 11, 2026 at 7 PM MacAllister Amphitheater at Garfield Park Tickets: FREE Donations Requested

November 13 & 14, 2026 at 7:30 PM November 15 at 3 PM The Tarkington Theater | Tickets: $42-102

December 20, 2026 | 2 PM & 5 PM The Basile Opera Center Tickets: Adults $45, Children $25

April 30 & May 1, 2027 at 7:30 PM May 2 at 3 PM The Tobias Theater | Tickets: $42 - $102

October 24, 2026 at 11 AM

Christel DeHaan Fine Arts Center

Tickets $25

March 20, 2027 at 5 PM The Basile Opera Center

August & October 2026 January & June 2027 Ambrosia | Fork + Ale | Woodstock

Get Tickets & Learn More About Our Season: www.IndyOpera.org | 317-283-3531

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KIDS DANCE OUTREACH

How Kids Dance Outreach Is Transforming Young Lives Through the Arts in Indianapolis

by Rebekah N. McGuire

From there, Johnson spent a decade performing with the Boston Ballet before returning to the outreach world that had once inspired him. After teaching with his former program, CityDance, and later serving as a visiting professor at Butler University, he recognized a growing need in Indianapolis for a community-centered dance outreach organization that could provide children with the same life-changing opportunities he had received.

That vision eventually became Kids Dance Outreach.

According to KDO administrator Monica Munoz, the organization’s purpose was clear from the very beginning. She recalls Johnson saying, “We are going to be leading Kids Dance Outreach, but it doesn’t belong to us or any one person. It belongs to the children.”

For Munoz, that philosophy immediately defined the organization’s culture. “It was for the children, by the children, with the children,” she says. “Very early on, I could tell this was going to be centered in the mission of serving children above all else.”

Initially, KDO focused heavily on supporting children from underrepresented and marginalized communities, particularly Black and Brown youth who often lacked access to arts education. Over time, that mission expanded rather than shifted. Today, the organization continues prioritizing accessibility while embracing the idea that all children benefit from meaningful arts experiences.

That sense of inclusion and empowerment was especially evident during KDO’s major spring 2026 event, where supporters gathered to celebrate the organization’s next chapter — a future permanent home for the nonprofit. The evening centered around the idea of “breaking ground,” both literally and metaphorically, highlighting individuals throughout history who transformed culture simply by daring to be themselves.

Photography: Jenny Danek

F

or the children of Kids Dance Outreach, dance is far more than movement. It is confidence, creativity, discipline, community, and for many, an opportunity they may never have imagined possible.

Founded by Michael Johnson, Kids Dance Outreach — widely known as KDO — was built on the belief that every child deserves access to the arts, regardless of socioeconomic background. Johnson’s own journey shaped that mission. Growing up in Richmond, Virginia, he and his family had limited resources, but ballet became a pathway that changed the course of his life. Alongside his brothers and friends, he discovered possibility through dance, eventually earning a full scholarship to Butler University, where he studied dance with a specialization in arts administration.

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The production referenced figures and movements that reshaped society through creativity, courage, and perseverance. From DJ Kool Herc revolutionizing music culture in the 1970s to Dolly Parton redefining storytelling through country music, the performance honored artists and changemakers who opened doors for future generations. It also paid tribute to figures like Ruby Bridges, whose bravery helped dismantle segregation, and Marshall “Major” Taylor, the pioneering Black cyclist who challenged perceptions of race and athletics in the late 19th century.

For KDO, these stories mirrored the organization’s own mission: creating space for children to discover their voice, their confidence, and their ability to shape the future.

Munoz says the organization plans to publicly launch the campaign for its new building in September 2026, with groundbreaking anticipated later in the year.

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KIDS DANCE OUTREACH

across four separate locations.

This summer, KDO will continue extending its reach into the community through a public arts event hosted in a nearby park close to the future site. Munoz describes the event as the result of extensive collaboration and funding efforts designed to make arts education visible and accessible in public spaces.

For the organization’s leadership, long-term success is measured less by growth metrics and more by lasting impact. “Success looks like permanence, quality, and an unwavering commitment to the mission and the children,” Munoz explains. “If those things are intact, everything looks promising.”

Photography: Jenny Danek

Construction is expected to take approximately one year. Yet even with a permanent facility on the horizon, she emphasizes that the heart of the organization is not tied to a building alone. “KDO magic can happen anywhere,” she says.

Still, the new space represents a transformative o p p o r t u n i t y. B e y o n d e s t a b l i s h i n g l o n g - t e r m permanence for the organization, the facility will allow KDO to expand after-school programming, strengthen partnerships with schools and community organizations, and broaden opportunities for children with disabilities — programs that currently operate

As a nonprofit, Kids Dance Outreach remains deeply committed to serving children and families free of charge. While partnerships with schools help offset some expenses, the organization subsidizes more than 75 percent of programming costs to ensure accessibility remains central to its mission. Volunteers and community supporters continue to play a vital role, whether through donations, mentorship, or simply investing time in the organization’s future.

For Indianapolis, KDO has become more than an arts program. It is a growing cultural force rooted in opportunity, belonging, and the belief that creativity can change lives. As Munoz describes it, “KDO is the jewel in the city that we have for our children and for the arts.”

EXPLORE INDYARTS.ORG ARTISTS | EVENTS | GUIDES | RESOURCES

D by E SMoonbug T I N A T I OPhotography N INDY Photo

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AMERICAN LIVES THEATRE

American Lives Theatre

By Amy Lynch Rooted in values of inclusivity and community, American Lives Theatre reflects the state of the country through thought-provoking productions of contemporary dramatic material. Led by founding artistic director Chris Saunders, the company aims to act as a town hall, presenting pieces that run the gamut of emotion while encouraging conversation.

Here, Saunders shares his thoughts about the company’s mission and place within the Indianapolis theater landscape: Q: How did the idea to create American Lives come about?

A: “I moved back to Indy from Chicago in 2017. I’d had a theater career as a writer, director, actor, and producer, and I realized there were so many plays in other cities that weren’t getting produced in Indianapolis. I would talk about it with my friends who had also lived in Indy and send plays along to artistic directors as recommendations. The idea just sort of grew in my mind. I founded the company in 2019; our first performance was in 2020.”

Q: During Covid?

A: “Yes. It totally stopped our momentum. Our first show sold way better than projected, and we had a lot of great buzz going. We did the final dress rehearsal for our second show on March 13, 2020, and then shut down. We kept saying for weeks that we would return. Eventually, I went in and single-handedly took the set down.”

Q: Is that the biggest challenge you’ve faced?

A: “No. I think the biggest challenge we face is generating regular audiences for work with which they’re unfamiliar.

Some of our plays have never been done before, and almost all of our plays have never been produced in this state.

We’re doing plays with titles no one’s ever heard of. Since Covid, I find people are increasingly less likely to gamble on a night at the theater.”

Q: What kind of niche did you initially hope to fill within Indy’s theater scene?

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AMERICAN LIVES THEATRE

A: “There’s a fair amount of companies producing contemporary plays, so I wouldn’t really call it a niche. I would say that we produce contemporary plays that speak to the pulse of America right now. I wouldn’t rule out doing something by a British playwright or something that takes place in another country if it falls within other aspects of our mission. But generally speaking, we’re looking at American playwrights writing about issues and stories in America.”

Q: How do you decide what the theme of each season is going to be?

A: “It just sort of reveals itself. There’s usually something that leaps out or bubbles to the surface. It’s not always issues with a capital ‘I.’ Maybe it’s a mood, things we’re focusing on, or things we’re afraid of. We start by just trying to find good plays that speak to us and go from there.”

Q: What do you look for when you’re considering shows?

A: “We have a pretty exhaustive way of sourcing material because we want to find the best work, and we are highly selective. We get submissions all the time. We’re aware of high-profile prizes and awards given to new plays and playwrights. We keep a working knowledge of what’s being done off-Broadway, in Chicago, Minneapolis, and L.A. We attend stage readings and other theater productions in town, and we’re part of the National New Play Network. That funnels a lot of scripts our way.”

Q: You produce modern dramatic material only?

A: “Yes. The most common criticism I get is, ‘Can we get a comedy in here?’ I would argue very earnestly that all of our dramas have a sizable amount of comedy in them.”

Q: How do you engage with the community beyond productions?

A: “Each show, on average, generates three to four discussions that are always free, typically held after the performance.

We are constantly working with colleges, universities, and high schools for student matinees.”

(The company also hosts playwriting workshops and offers discounts for locals, first responders, and educators.)

Q: Where can people see your work?

A: “We’re a resident company at the Phoenix Theatre Cultural Centre, and we’re also a spotlight company at IF Theatre (formerly IndyFringe). We view the IndyFringe Festival as an opportunity to uplift local playwrights and directors. And I think next year, we’ll be doing a 10-minute play festival.”

American Lives Theatre’s seventh season kicks off Oct. 22 with an untitled commission by Lucy Thurber. For more information, visit americanlivestheatre.org.

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Photography: Tijideen Rowley

Indianapolis Black Theater Company's Sophomore Season Champions Black Artists, Stories, and Community

by Shannon Samson "This is one of those plays that stays with you… exactly the kind of theater that sparks conversation and understanding," said one reviewer of Blood at the Root. The gripping drama about the school-toprison pipeline opened Indianapolis Black Theater Company's sophomore season at The District Theatre, located in the heart of downtown Indianapolis' Mass Ave Cultural Arts District. "I truly believe this season will be a transcendent moment," said IBTC Artistic Director Tijideen "T.J." Rowley, "not just for our company, but for the entire community."

Launched in 2023 with a $1.9 million investment from the Central Indiana Community Foundation and the 36

Lilly Endowment, IBTC's founders set out to create higher-paying opportunities to retain Black theater artists in Indianapolis — not just actors, but directors, stage managers, designers, and crew members as well. In addition to its performance season, IBTC runs the Blacklight Training and Development hub to cultivate new talent and give emerging artists a launching pad. "Playwriting students, for example, not only write their own work, but also see it produced and get paid for it," Rowley said. "That kind of hands-on, full-circle experience is rare and incredibly valuable."

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1847 N Alabama St. • Indianapolis

WHERE THEATRE MEMORIES ARE MADE Our Upcoming Shows PIPPIN

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October 2-11 “the funniest farce ever written” October 2 - 7:30 PM October 3 - 7:30 PM DESTINATION INDY October 4 - 2:00 PM

October 9 - 7:30 PM October 10 - 7:30 PM October 11 - 2:00 PM

by Maxwell Anderson

The Dramatization of William March’s Novel The Bad Seed Directed by Matt McKee

Sept 4 - 13, 2026

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INDIANAPOLIS BLACK THEATRE

In 2025, IBTC hosted the Indianapolis Black Theater Showcase, bringing together multiple Black theater companies for a community monologue competition, featured performances, and a tribute to individuals and organizations who have contributed to the growth of the local arts ecosystem. IBTC also hired a playwriting instructor for the Indy Black Solo Fest to help six artists develop original solo shows. Participants performed their pieces with live music and full production support — and walked away owning their scripts. "We've already seen some of those works go on to other festivals, which is exactly the kind of long-term artist growth we aim for," Rowley said.

theaters only give the African American experience a voice in February. Now the focus is on us. Our story can be shared all year round," he said. "It's important for our younger Black generation to see themselves in the stories they watch. We don't have to play the slaves, maids, and thugs. We're telling our own stories now."

This summer, IBTC hosted a free, one-week camp where children took acting classes, toured the city’s major theaters, and staged a final production. Beyond special events, Rowley said ever y production is designed to help artists gain experience, build their resumes, take creative risks, and—most importantly— be compensated fairly.

One challenge IBTC faces is the misguided assumption that Black stories are only for Black audiences.

"Historically, Black stories haven't always been treated as universal, even though they absolutely are," Rowley said. "When we center those stories, we're not excluding anyone — we're inviting everyone into a deeper understanding of the human experience." Themes of struggle, resilience, love, injustice, and hope are quintessentially human truths. "When audiences of all backgrounds come to our productions, they don't just watch a 'Black story' — they experience something that connects to their own lives," he said. "That's the power of theater. It transcends race and becomes something bigger — something shared."

One of Indianapolis' most recognized and accomplished theater artists, Daniel Martin, called working with IBTC "a breath of fresh air." Having both acted in and directed productions for the company, Martin said the organization fills a long-standing void. "So many

Looking ahead, IBTC is focused on strengthening its infrastructure by developing the systems and standard operating procedures needed for longterm sustainability — a goal Rowley calls "critical" for a growing organization. "Sustaining that level of

THE NEW HARMONY PROJECT Indy’s premier destination for exciting new plays

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Photography: Tijideen Rowley

opportunity requires ongoing community support and a shared understanding of just how vital Black storytelling is," Rowley said, "not just culturally, but for the growth and health of our entire society."

The unflinching Blood at the Root, written by Dominique Morisseau and directed by Daniel Martin, ran in April and set the tone for the season. Inspired by the real-life events of the Jena Six, the play follows a group of students fighting injustice on every front. The production's stark visual design featured a lone, imposing tree set against a plain black backdrop, with three hangman's nooses hanging from its branches. Conceived with the help of IBTC General Manager Kimberly Martin, Rowley designed and built the massive set piece himself, calling it a "living symbol of change."

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In July, IBTC will present what it describes as a "vibrant and imaginative staging" of The Colored Museum by George C. Wolfe, directed by Indianapolis arts trailblazer Deborah Asante. In September, director D.P. DeMarco will stage his original work Kila'Delphia: The Stage Play to close out a bold and dynamic season. "Audiences can expect high-level performances, risk-taking, moments of laughter, deep reflection, and ultimately, stories that elevate Black voices while bringing people together," Rowley said.

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THE FOUNTAIN ROOM REVIEW

The Fountain Room Delivers One of Indianapolis’ Most Refined Dining Experiences

By Joey Amato

I

ndianapolis has no shortage of exceptional restaurants, but few capture the elegance, nostalgia, and culinary creativity of The Fountain Room quite like this Mass Ave favorite. Inspired by the glamour of classic American supper clubs while embracing contemporary flavors and presentation, The Fountain Room has quickly established itself as one of downtown’s premier dining destinations. From impeccable service to beautifully plated dishes and an atmosphere that effortlessly blends sophistication with warmth, every element of the evening feels intentionally crafted.

Walking into The Fountain Room, guests are immediately greeted by a space that feels timeless.

Rich woods, warm lighting, plush seating, and tasteful Art Deco influences create an inviting ambiance equally suited for a romantic evening, business dinner, or celebratory gathering. The restaurant manages to feel upscale without ever becoming intimidating—a balance that many restaurants strive for, but few achieve.

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Before the first course arrived, we kicked off the evening with two expertly crafted cocktails that immediately set the tone for the meal. The Upper Crust is a sophisticated take on an Old Fashioned, featuring E.H. Taylor Small Batch bourbon, Carpano Antica vermouth, barrel-aged bitters, and a cocktail cherry, all finished with an aromatic veil of hardwood smoke. Rich, smooth, and beautifully balanced, the smoky finish added both drama and depth, making it an ideal companion to the restaurant’s elevated menu.

For something lighter and more tropical, the Dayglow Daiquiri delivered a refreshing contrast. Crafted with Hard Truth Toasted Coconut Rum, melon, lime, and pineapple, the cocktail was bright, crisp, and subtly sweet without becoming overpowering. The toasted coconut added a unique layer of warmth that complemented the fresh citrus and tropical fruit flavors, creating a vibrant summerinspired libation. Together, the two cocktails showcased The Fountain Room’s thoughtfully curated bar program— one rooted in classic cocktail craftsmanship while embracing inventive flavor combinations that perfectly complement the dining experience.

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Before it was a hit on Netflix, Kim’s Convenience was an award-winning stage play. For over 30 years Mr. Kim, a first-generation Korean immigrant, has dispensed fatherly wisdom and history lessons from his store counter.

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While their father serves in the Civil War, the four March sisters and their mother work hard to keep hearth and home. A captivating new stage adaptation by America’s most produced living playwright.

The influential Jasper family has long been a pillar of Black America. When the Jaspers’ son returns home for a celebration, secrets threaten to crack their family foundations. Intense, hilarious, deeply dramatic, and filled with intrigue. Winner of the 2025 Pulitzer Prize and the Tony Award for Best Play.

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THE FOUNTAIN ROOM REVIEW

We began our meal with two standout starters that perfectly showcased the kitchen's creativity.

The Brie Brûlée is unlike any baked brie you've probably experienced. Rather than serving a traditional wheel of cheese, the kitchen transforms the spreadable brie into an incredibly smooth, luxurious crema before topping it with a perfectly caramelized sugar crust. The result is reminiscent of a traditional crème brûlée, offering that satisfying crack with every spoonful. Pistachio dust adds a subtle nuttiness while a cocktail cherry and strawberry jam provide bursts of sweetness that complement rather than overwhelm the creamy cheese. Served alongside grilled bread, each bite strikes a remarkable balance between savory, sweet, creamy, and crisp. It's playful, elegant, and memorable—the kind of appetizer you'll find yourself recommending to everyone.

Equally impressive was the Burrata, a vibrant celebration of fresh ingredients. Creamy burrata takes center stage, surrounded by heirloom tomatoes, crisp cucumber, fragrant Thai basil, and bright chermoula. What truly elevates the dish is the tamarind glaze, which introduces a gentle tangy sweetness that ties the entire plate together.

Every bite feels fresh and layered, making it the perfect contrast to the richness of the Brie Brûlée. Together, these two starters provided an outstanding beginning to the meal and demonstrated the kitchen's ability to combine classic ingredients with globally inspired flavors.

For our entrées, we selected two of the restaurant's signature seafood offerings: the Halibut and the Sea Bass.

I ND I A NA’ S ONLY HOLOCA US T MUS E UM

Hope. Healing.

Respect. Responsibility.

Step into the story of Eva Mozes Kor and her lifelong message of forgiveness — told through rare artifacts and interactive survivor testimony, just two hours from Indianapolis.

“Forgive everybody who has ever hurt you. It will heal your soul and set you free.”

EVA MOZES KOR, FOUNDER

PLAN YOUR VISIT — CANDLESHOLOCAUSTMUSEUM.ORG

SAVE TH E DATE · ANNUAL FUNDRAISER

Evening of Light

Saturday, October 17, 2026 The Club at Holiday Farms — Zionsville, IN KEYN OTE SPEAKER

John Quiñones

Award-winning journalist, author, and creator/host of What Would You Do? Honoring the legacy of founder Eva Mozes Kor (1934–2019)

1532 S. Third St., Terre Haute, IN 47802

◆ (812) 234-7881

Thu–Sat, 10am–4pm · Group tours by appt.

INDIANA BALLET

CONSERVATORY Alyona Yakovleva, Founder and Artistic Director

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THE FOUNTAIN ROOM REVIEW

The Halibut was cooked flawlessly. Anyone who regularly orders halibut knows just how easy it is to overcook this delicate fish, but The Fountain Room executed it beautifully. Moist, flaky, and buttery, the fish practically melted with each bite. It rested atop braised cabbage alongside a silky cauliflower and parsnip purée that added earthy sweetness without overpowering the star of the plate. The miso glaze brought just enough umami richness to create depth while maintaining balance throughout the dish. Every component served a purpose, resulting in a plate that was both refined and comforting.

The Sea Bass was equally exceptional and perhaps the evening's most visually stunning entrée. Rich, buttery sea bass was glazed with kabayaki sauce, giving the fish a subtle sweetness balanced by savory complexity.

Accompanying napa cabbage, bok choy, shiitake mushrooms, kimchi, and cauliflower purée transformed the dish into a thoughtful blend of Japanese and Korean influences while still feeling approachable. The kimchi introduced just enough acidity and gentle spice to brighten the richness of the fish without dominating it.

Every bite revealed another layer of flavor, making this an entrée worth savoring slowly.

Rather than allowing the entrées to stand alone, we added two shareable sides that proved to be stars in their own right.

The Roasted Carrots elevated what could have been an ordinary vegetable into something extraordinary. Sweet roasted carrots were paired with creamy Greek yogurt, tangy Maytag blue cheese, chili brown butter, garbanzo beans, and toasted pepitas. The contrast between the carrots' natural sweetness, the richness of the brown butter, the creaminess of the yogurt, and the crunch of the pepitas created an incredibly satisfying dish. It's a side that easily could have served as its own vegetarian entrée.

However, it was The Brussels Sprouts which proved to be the crowd favorite. Roasted until beautifully caramelized, they were finished with Maytag blue cheese crumbles, Old Major jowl bacon, and a bourbon glaze. The smoky bacon and sweet bourbon glaze complemented the slight bitterness of the sprouts perfectly, while the blue cheese added a creamy tang that tied everything together. Even

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those who claim not to enjoy Brussels sprouts may find themselves converted after one bite.

Throughout the meal, service remained attentive without being intrusive. Water glasses were never empty, courses arrived with excellent pacing, and our server demonstrated extensive knowledge of the menu, offering thoughtful recommendations while allowing each dish to speak for itself. Fine dining is about far more than excellent food, and The Fountain Room clearly understands the importance of hospitality.

No dinner would be complete without dessert, and although the current menu frequently rotates seasonal offerings, we were fortunate enough to enjoy the Pistachio Tiramisu. This elegant interpretation of the beloved Italian classic was light, creamy, and beautifully balanced. Delicate layers of amaretto mascarpone and espresso-soaked cake retained the familiar flavors that make tiramisu so beloved while pistachio introduced a subtle nutty richness that elevated the dessert into something uniquely memorable. Rather than feeling heavy after a multi-course meal, it provided the perfect sweet finish that left us wanting just one more bite.

One of the most impressive aspects of The Fountain Room is its consistency. Every course feels intentional, every ingredient thoughtfully selected, and every plate demonstrates careful attention to detail. Rather than relying on gimmicks or excessive complexity, the kitchen focuses on allowing high-quality ingredients to shine through balanced flavor combinations and polished execution.

The restaurant also succeeds in creating an experience that appeals to a wide audience. Couples looking for a romantic evening will appreciate the intimate atmosphere, while food enthusiasts will enjoy exploring a menu filled with inventive yet approachable dishes. Business diners will find a polished setting ideal for entertaining clients, and locals searching for a special night out will discover a restaurant worthy of repeat visits.

Indianapolis' culinary scene continues to evolve, and The Fountain Room has firmly established itself among the city's finest restaurants.

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BETSY BAIRD

Beyond the Frame: Betsy Bird’s Journey Through Art, Nature, and Faith

By Alexis Hawkins There is a particular kind of artist who does not make work to be seen — but to see. Betsy Bird is one of them.

"I think that I am creating more so that I can understand the world," she says, "versus so that the world can understand me."

It is a quiet distinction, but it explains everything about the way she works. Whether she is crouched at the edge of a field chasing fading afternoon light, guiding a classroom of students through the unforgiving wash of watercolors, or capturing the tender chaos of a friend's wedding day, Betsy approaches her canvas the way a careful listener approaches a conversation — attentively, humbly, ready to respond.

Her story begins where many do: in a college classroom she did not expect to change her life. An illustration major by plan, she enrolled in a painting course out of requirement. What happened next was less a discovery than a recognition.

"Painting is necessary for an illustration major, so I took a painting class, and oh my goodness, if I didn't just fall in love with painting."

From that room, a world opened. She found herself drawn to the sparse, luminous geometries of American painter Richard Diebenkorn, and closer to home, to the boldly textured brushwork of Harrison Center curator Kyle Ragsdale. Their influences settled into her hand and stayed there.

"A big definer of my style is my use of color and my confident brushstrokes."

These days, Betsy moves between two modes — the spontaneous and the meditative. Much of her work is plein air, painted outdoors in real time, subject to wind and shifting clouds and the relentless tick of the light changing. She competes in plein air events around the region and has built a body of work that is, as she puts it, "right outside our windows." In the studio, she goes fully abstract, giving herself permission to follow instinct without a horizon line to anchor her.

Indiana, she will tell you, is a better subject than most people give it credit for.

"A lot of times, me included, people sleep on Indiana for being kind of boring and flat," she admits. "But I think we get a lot of opportunities to play with light because of that, because we don't have to worry about the shadows a mountain is going to cast on your scene. It's so vast — 48

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BETSY BAIRD

you go north and you get a different picture of Indiana than you do when you go south."

At its core, Betsy's practice is not about aesthetics or ambition. It is about dialogue.

Flatness, it turns out, is not absence. It is space. Room for light to do its work uninterrupted.

"Creating to me is a conversation," she explains.

"You're looking at your subject and you're replying to what is happening on your canvas — but it is not just a conversation between the subject and the artist. For me, it's a conversation between me and God and my subject."

For young artists trying to find their footing, Betsy offers something more useful than inspiration: a map.

Indianapolis, she insists, has a real scene — one that rewards those willing to look for it. Urban sketchers, figure drawing groups downtown, muralists, gallery communities. The entry points are there. The most obvious one, she says, starts with a "first."

"The most obvious route for me was to go to First Fridays."

First Fridays, held at anchor spaces like the Harrison Center and the Stutz, are open-gallery evenings where artists and art lovers circulate freely — where a conversation over a painting can become a friendship, a collaboration, a reason to stay.

"It's like the best opportunity to meet other artists, to make friends, to understand why people are still in Indy — because everyone has a fantastic reason to be here."

For those who hesitate before putting their work in front of strangers, she passes on a piece of advice she once received herself, delivered plainly and without ceremony: "You waste more time worrying about those types of things, and that time could be better used just painting."

That three-way exchange — the painter, the world, and something larger — gives her work its particular quality of presence. Her paintings do not shout. They wait.

Which is precisely what she hopes her next body of work will ask us to do. She envisions a show built around her travels: sprawling plein air pieces and massive studio paintings of nature scenes, large enough that a viewer cannot scroll past them, cannot compress them into a thumbnail, cannot reduce them to a moment.

"By doing these giant pieces, I'm hoping to help people realize that there is more than just that tiny rectangle of your phone screen."

In a world moving faster than most of us can track, Betsy Bird is painting in the opposite direction — slowly, deliberately, in conversation with what is right in front of her. She is not trying to capture Indiana. She is trying to understand it.

And somewhere in that effort, she is inviting the rest of us to slow down and do the same.

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