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Jamie Gahlon has asked theater artists from around the country to talk about their personal search for an artistic home. Liz Engelman continues this series.

Stephanie Timm shares her joy for Seattle and its theatre scene. With all the wonderful affordable theatre, she wonders what is the next step to expand the audiences.

How does Seattle theater look in Spring of 2012? Specifically for new plays, for playwrights, for directors and actors who live to make something new, for audiences that crave and honor new work?

Brant Russell offers some rules and philosophy on post-show discussions, building off five years of experience at Steppenwolf Theatre.

Catherine Trieschmann continues her column on parenting as a playwright with answering a reader's question regarding "having it all." Can anyone have it all? And who would you rather be – Diane Keaton or Sam Shepherd?

Taline Vokeritchian muses on the lingering, invigorating power of first loves.

Steven Sapp writes about his relationship with ArtsEmerson, and how his friendship with Rob Orchard has helped him to create his best work.

P. Carl and David Dower outline thier plan for what HowlRound will look and function like moving forward.

Melia Bensussen examines how the arrival of The Commons will intersect with the theater professionals that populate Emerson College's faculty.

Student Nick Medvescek writes about the synergy of HowlRound and Emerson College's student-led theatre community.

Rob Orchard reflects on his professional career at the Yale Repertory Theatre and the American Repertory Theatre, leading to his new position and excitment for Emerson's Office of the Arts.

President Lee Pelton welcomes The Commons to Emerson College!

Natsu Onoda Power writes about the role of coincidence and fate in her career, and how the "choices" we make in our artistic journeys are hardly a matter of choice at all.

Director and educator Jason King Jones talks with the Artistic Director of the Kennedy Center American College Theater Festival Gregg Henry.

Jamie Gahlon has asked theatre artists from around the country to talk about their personal search for an artistic home. Molly Smith continues this series.

The Capital Fringe Festival has outgrown Fort Fringe which brings to light the question: besides the church basement, who will give us space at a fair price point?