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Rob Handel, co-founder of 13P, explains why the playwrights' collective needed to implode after its final performance. The answer? It simply couldn't happen any other way.

In the belief that rural artists need to be represented, Double Edged Theatre Company headed a conversation with fellow rural artists about action steps for the communities to take.

LaMoine MacLaughlin, Executive Director of the Northern Lakes Center for the Arts in rural Wisconsin writes about the 23 years of the organizaiton, and how it fits into his community.

Nikiko Masumoto blurs the line between farming and performance, and what that can mean for communication between farmers and consumers.

Donna Neuwirth describes the integration of culture and agriculture at the Wormfarm Institute in Wisconsin.

On this edition of Parenting & Playwriting: learning how to let go on the first day of school.

Michael Elyanow sheds light on the financial constraints of being a playwright and why it may still be worth it.

Micheline Auger reports about her project, Write Out Front, which places playwrights in the Drama Book Store's window for a mini "residency."

The Network of Ensemble Theater discusses their upcoming move to Detroit alongside ideas of gentrification and community

Against all odds, adversity created an ideal setting for Fringe. Em Piro chronicles the inception of the St. Lou Fringe Festival.

Phil Soltanoff writes about SITSTANDWALKLIEDOWN, and how performance art can make us think about how we live, work, and occupy public space.

Despite the uphill battle, Gary Anderson continues his work at Plowshares Theatre Company.

Mark Valdez chats with Shea Howell about Detroit.

Clare Pfeiffer Ramsey describes how artists, foodies, and entrepreneurs have helped revitalize Detroit.

Bridgette Redman surveys the dependable Detroit theatrical institutions.