Upcoming Performance Amid Controversy
Ben Bankas is scheduled to perform at the Key City Theatre in Cranbrook on March 20, 2026. This event comes on the heels of significant community backlash regarding his style of comedy, which has often targeted marginalized groups, including Indigenous people and the 2SLGBTQIA+ community.
Just days later, on March 21, 2026, Bankas was set to perform at the Port Theatre; however, this rental was cancelled following objections from the community. The Port Theatre Society emphasized its commitment to providing a safe environment for all, stating, “As the operator of the Port Theatre, the society has a duty to provide a safe environment for staff, volunteers, patrons, artists, and members of the community.” This decision was made in accordance with the British Columbia Human Rights Code and the Charter of Rights and Freedoms.
In contrast, Key City Theatre has opted to proceed with the event despite similar concerns. The theatre’s management has expressed disagreement with Bankas’s content, noting, “We disagree with the content, and it does not reflect our values.” Nevertheless, they have stated that they will implement formal policies to decline future rental events that conflict with their mission and values.
The Fernie Pride Society has described Bankas’s material as “hateful rhetoric” that disparages various communities, further fueling the controversy surrounding his performances. In response to the planned show at Key City Theatre, the ʔaq̓am Chief and Council requested its cancellation, asserting that public cultural venues have responsibilities that extend beyond contractual agreements.
They stated, “This is not a question of silencing debate. Public cultural venues operating in Ktunaxa ʔamakʔis have responsibilities beyond contracts.” The council also condemned the nature of Bankas’s comedy, declaring, “Outrage comedy rooted in violence against Indigenous communities has no place within our territory.”
Despite the backlash, tickets for Bankas’s show in Cranbrook have mostly sold out as of the time of publication, indicating a divided response from the community. The upcoming performance at Key City Theatre will likely serve as a focal point for ongoing discussions about the responsibilities of venues and the impact of comedy on marginalized communities.
As the date approaches, community members and organizations continue to voice their concerns, highlighting the broader implications of hosting such events in culturally sensitive areas. The situation underscores the tension between artistic expression and community values, raising important questions about the role of public venues in shaping cultural discourse.
