Charleston Daily Seeking all the beauty that is Charleston, South Carolina

by Mark A Leon

Charleston’s biggest celebration of food, wine and culinary talent is officially on the calendar — and tickets are now on sale for the 2027 Charleston Wine + Food Festival.

The festival returns March 3–7, 2027, bringing five days of dinners, tastings, cooking classes, wine and beverage experiences, parties and special events to venues throughout the Charleston area.

The 2027 festival also marks 21 years of Charleston Wine + Food, which continues to highlight the chefs, restaurants, farmers, makers and hospitality professionals who make the Lowcountry food scene nationally recognized.

🎟️ Tickets and Festival Information

• Tickets: Buy 2027 Charleston Wine + Food tickets
• Festival dates: March 3–7, 2027
• Schedule: View the complete 2027 festival schedule
• Talent: Meet the 2027 chefs, beverage professionals and other talent
• Festival information: Visit the official Charleston Wine + Food website

The 2027 schedule includes a wide variety of experiences, from intimate restaurant dinners and brunches to hands-on cooking classes, beverage workshops, large tasting events and late-night celebrations. Events will take place throughout the Charleston region.

🍴 Events to Watch

Among the featured experiences for 2027 are:

• Gullah Geechee Sunday Supper — Chefs BJ Dennis and Simeon Hall Jr. bring together a group of chefs for a special dinner at Joseph Fields Farm on Johns Island celebrating the foodways connecting the Lowcountry and the Bahamas.
• Fire + Fin — Commercial fisherman Captain John Mallette and Chef James London of Chubby Fish showcase a whole bluefin tuna before cooking it over live fire.
• Island Time — Chef Tristen Epps presents a multi-course dinner inspired by the culinary routes connecting Charleston and the Caribbean.
• Freshest Fields — Hannah Welton of Welton’s Tiny Bakeshop leads guests through a Johns Island farm experience that culminates in a meal created from ingredients gathered along the way.
• Hands-On Classes — Cooking and culinary classes will be offered at the Trident Technical College Culinary Institute, featuring chefs including Carrie Morey and Kelly Franz.
• Late Nights — A new category of events gives festivalgoers options after the traditional dinner hours, including The Jack’s Diner Party and a late-night takeover featuring The Archer and Gus’ Sip & Dip.

👨‍🍳 A Look at the Talent

The festival’s 2027 talent roster includes hundreds of chefs, beverage professionals, wine experts, farmers, artists and other culinary personalities. The official participant directory includes Charleston chefs, guest chefs, beverage professionals, wine professionals, farmers and purveyors, and artists and experts.

For Charleston food lovers, the festival offers a chance to experience both familiar Lowcountry favorites and visiting culinary talent from around the country.

With the full schedule now available and tickets officially on sale, those interested in specific dinners, classes or special events may want to start planning early.

Charleston Wine + Food Festival 2027 runs March 3–7.

Get tickets and explore the 2027 festival

Follow the journey on Instagram.

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Photo Credit: Charleston Wine + Food

Related: How Culinary Scholars Are Shaping the Future of the 2026 Charleston Wine + Food Festival

At the Museum of Late Human Antiquities, curators piece together the fragments of a vanished civilization. How did humans live? What did they cherish? What did they believe would endure? As glimpses of life flicker into view—moments of invention, intimacy, ambition, and connection—the analog world begins to dissolve into something faster, smarter, and far harder to define. 

“a play that has more to say in 95 minutes than most TV shows manage in eight seasons” —Chicago Tribune

CHARLESTON, SC | FOR IMMEDIATE RELEASE: PURE Theatre continues its 24th season with the Southeastern Regional Premiere of The Antiquities by Jordan Harrison (Marjorie Prime), directed by PURE Co-founder and Artistic Director Sharon Graci. The production runs from October 22 through November 14 at the Cannon Street Arts Center, with a Pay What You Will preview on October 21.

Presented by PURE Theatre and spanning centuries—from 1816 through 2240, The Antiquities by Jordan Harrison is a mind-blowing and haunting “brilliantly imagined drama” (The Wall Street Journal) that explores what we leave behind, and what continues on without us.

“Oh my goodness, what a play. One of the ways I know I’m still on the right path in life is by how excited I am to go to work and direct theatre. And I am so, so excited to direct The Antiquities.

PURE seems to live under a very favored sun that shines relevance on our work, and The Antiquities is another remarkable example. The play unfolds across 22 scenes, beginning in 1816 with Mary and Percy Shelley, then moving chronologically forward to the year 2240 before reversing course and traveling backward through time to where we began.”

The production features PURE Theatre Core Ensemble members Joy Vandervort-Cobb, Anna Lin, David Mandel, Andrew Puckett, and Michael Smallwood, joined by Sarah Callahan Black, John Black, Charley Smith, and Davion Gibson.

“The Antiquities is one of the smartest plays I’ve ever read. It’s funny, deeply moving, wildly theatrical, and asks enormous questions about humanity, technology, memory, and what we leave behind. And at this particular moment in our relationship with artificial intelligence, it feels almost unnervingly timely. It’s anchored by PURE’s Core Ensemble, one of the strongest resident companies working in the Southeast, and I cannot wait to put it on our stage. Let the conversations begin!”

Tickets for The Antiquities range from Pay What You Will to $53. Pay What You Will performances will be held on October 22 and 28, with Pay What You Will tickets available for online purchase one week before opening. Student tickets are available for $12 for every performance. 

Tickets are available now at puretheatre.org.

Additional information about The Antiquities can be found on PURE’s website at puretheatre.org or by calling the box office at 843.723.4444, Tuesday through Friday from 10:00 am to 4:00 pm.

ABOUT PURE THEATRE

Founded in 2003, PURE Theatre is Charleston’s award-winning professional theatre company, now entering its 24th season. Built around a resident ensemble of actors, directors, and designers, PURE produces bold contemporary plays, often Southeastern and world premieres, that bring the most current voices in American theatre to Charleston. Known for exceptional ensemble work at close range, PURE offers audiences a boutique cultural experience that complements the city’s historic and culinary landscape.

PURE Theatre creates exceptional theatre experiences that enliven thought, ignite conversation, and heighten consciousness for a diverse gathering of artists and audiences.

PURE’s staff includes Sharon Graci, Co-founder and Artistic Director; Rodney Lee Rogers, Co-founder and Producing Director; David Mandel, Associate Artistic Director; Joy Vandervort-Cobb, Associate Artistic Director; Tippy Trombly, Patron Experience and Marketing Manager; and Isabella Gardner, Associate Patron Experiences Manager.

Serving on PURE Theatre’s board of directors are Stephanie Hunt, President; James M. Ward, CPA, Treasurer; Michael Culler; Amy Gaffney; David Smalls; Bea Wray; and Josh Wilhoit.

The rooftop pumpkin patch returns to The Loutrel Hotel in downtown Charleston, South Carolina

Details

WHO: Charleston’s Two-Key Michelin hotel, The Loutrel

WHAT: The Loutrel’s annual rooftop pumpkin patch returns this month, bringing a taste of fall to the heart of downtown. Featuring new seasonal cocktails and plenty of gordeouspumpkins supplied by James Islands’ Dreaming Farms, locals are invited to enjoy the hotel’s private rooftop terrace and take home a pumpkin from the patch with purchase of select cocktails or beer from The Veranda Lounge’s specialty fall menu. New this year is The Loutrel’s “Find the Golden Pumpkin” challenge. Hidden daily, those who find the golden pumpkin and present it to hotel staff will receive a Loutrel prize.

WHEN: Opening day – Friday, October 16 from 5:30-8:30pm | Ongoing – open daily Saturday, October 17 through Saturday, October 31 from 12-8pm

WHERE: The Loutrel (rooftop), 61 State Street, Charleston, SC 29403

MENU:

• Hobcaw Übergang Oktoberfest $10
• Scarecrow’s Sweet Tooth $17- Butterwashed Rum, Amontillado Sherry, Sweet Corn Syrup, Dulce de Leche Cold Foam, Caramel Corn
• Orange Screamcicle $17- Vanilla Vodka, Fresh Orange Juice, Orange Syrup, Solerno Blood Orange Liqueur, Spiced Pear Liqueur, Vanilla Wafer Cold Foam
• Vampire’s Kiss $17- Beet Infused Vodka, Dry Vermouth, Pickle Brine, Saline Spray, Infused Olive Oil
• Cinder & Sage $18- Mezcal, Spice Pear Liqueur, Apple Cider, Fresh Lemon Juice, Sage-Honey Syrup, Orange Bitters

VISIT: Please stop by the Veranda Lounge inside the hotel lobby to gain access to the rooftop.

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Federal award will support stabilization Middleton Place’s oldest and most significant surviving structures

CHARLESTON, S.C. October 6, 2026. Middleton Place Foundation has been awarded a $650,997 Save America’s Treasures grant from the Historic Preservation Fund, administered by the National Park Service, Department of the Interior, for the stabilization and preservation of the historic Chapel & Spring House at Middleton Place National Historic Landmark.

The highly competitive federal award requires a dollar-for-dollar non-federal match, which the Foundation is actively raising, bringing the total approved project to $1,301,994. The funding will support critical preservation work to address structural deterioration and help ensure the Chapel & Spring House can once again serve as a place for education, interpretation, and public engagement.

“This award is an extraordinary investment in the preservation of Middleton Place and in our responsibility to care for a place of national significance,” said Dana Hand Evans, President and CEO of Middleton Place Foundation. “The Chapel & Spring House connects nearly three centuries of history, from the colonial period and the founding of the nation to the lives of the enslaved and free people who worshiped here. This support allows us to preserve the structure while continuing to tell those interconnected stories with greater depth.”

The Spring House was constructed around 1741, making it the oldest surviving structure at Middleton Place. In 1850, Williams Middleton, grandson of Declaration of Independence signer Arthur Middleton, constructed the Chapel above it. Today, the building provides a rare setting in which visitors can explore the social, religious, and cultural forces that shaped the American experience.

The Chapel is believed to be the only publicly accessible plantation chapel remaining in its original location in South Carolina and one of only a small number nationwide that retain their historic setting. As a contributing resource within the Middleton Place National Historic Landmark, it is an important part of the site’s nationally significant history.

In recent years, movement in the walls and foundation has raised serious preservation and safety concerns, and the Chapel & Spring House is currently closed to visitors. The grant will support work to stabilize the structure, address drainage and water issues, repair historic masonry and finishes, and preserve the roof, windows, doors, and interior.

“This project is about much more than saving a building,” Evans said. “It is about preserving an authentic place where visitors can encounter the complicated and interconnected stories of American history.”

The award builds on several years of planning and study by the Middleton Place Foundation. Permitting and final approvals are expected to begin in 2027, followed by stabilization and preservation work through 2028. The Foundation plans to reopen the Chapel & Spring House to the public following completion of the project.

More than 100,000 people, including students and teachers, visit Middleton Place each year. Once reopened, the Chapel & Spring House will continue to support the Foundation’s educational and interpretive work for future generations.

ABOUT MIDDLETON PLACE FOUNDATION

Middleton Place Foundation preserves and shares the landscape, architecture, collections, and stories of Middleton Place, a National Historic Landmark, inspiring a deeper understanding of all who shaped this place and our nation. Through preservation, stewardship, research-driven interpretation, education, and public engagement, the Foundation connects people, place, and history and explores the complex foundations of the American experience. Middleton Place Foundation is working to advance Middleton Place as a nationally recognized leader in preservation, interpretation, and cultural landscape stewardship while ensuring this extraordinary place is preserved for future generations.

Photo credits: Provided by Middleton Place Foundation

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From biscuit-driven breakfasts and daytime bites at Angel Biscuit Co. to burgers, pizza and late-night hangs at Emily, the new dual concept shifts gears from day to night.

CHARLESTON, S.C. – A new day-to-night dining destination is now open in Avondale at 835 Savannah Highway, taking over the former Ruby Sunshine space and giving the neighborhood a fresh new reason to stop by from morning to night. Angel’s & Emily will bring two distinct restaurant experiences under one roof: Angel Biscuit Co., a breakfast-forward concept built around housemade biscuits and craveable breakfast fare, will welcome guests during the day before transforming into Emily after dark, serving up juicy burgers, pizza and a lively nighttime atmosphere. Emily, sister restaurant to Pizza Loves Emily, is a proven, award-winning concept making its way south for the first time. Since debuting in New York, Emily has earned national acclaim from outlets like Eater, Bloomberg, and The Wall Street Journal, and built a cult following for its pizza and standout burger.

This concept was born from a longtime friendship between restaurateur and owner, Howard Greenstone and a friend and collaborator who calls Avondale home. On her recommendation, Greenstone chose the neighborhood for Angel’s & Emily, knowing it was exactly the kind of place this concept belonged.

“Avondale has a real neighborhood feel, which is hard to find these days,” said Greenstone. “People know each other and care about each other, and the whole area just has a great vibe. I’m thrilled to be in Charleston, of course, but West Ashley specifically.”

Open Wednesday through Sunday, Angel’s & Emily is designed to change with the rhythm of the day. Weekdays begin at 7 a.m. with Angel Biscuit Co., offering everything from a quick coffee and morning treat after school drop-off to grab-and-go muffins for the kids. As the day progresses, the space naturally shifts into a casual neighborhood hangout before Emily takes over in the evening, turning up the music, dimming the lights and welcoming guests for dinner, drinks and late-night bites.

Weekend brunch will be the one time when both sides of the concept come together. Guests can order from both the Angel Biscuit Co. menu and the Emily menu at the same table, making brunch a true choose-your-own-adventure experience. Whether settling in for a leisurely morning with biscuits and coffee or going all in on burgers and pizza, the weekend offering is designed to be a full event — and one worth lingering over.

The bar program will be a curated selection of classics joined by a lineup of crushable cocktails developed by acclaimed local mixologist Megan Deschaine, creating an easygoing drink menu built for everything from an afternoon catch-up to a late-night round with friends.

It’s the same room, but never quite the same experience — and that is exactly the point. Angel’s & Emily brings something new to Avondale: quality food and drinks paired with a relaxed, playful energy that invites guests to stop in for five minutes or stay for the whole evening. 

Official Website or follow the journey on Instagram.

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Related: Cheeky Brings a New Chapter for Neighborhood Dining Group to Meeting Street – Opening this Fall in Charleston, SC

Related: Scenes from Avondale: Photographic Journey of a Community with a Story to Tell

There is a current online petition with just north of a 1000 signatures to approve Electric Carriages in Charleston, South Carolina.

Below are details of the petition:

The Issue

We’ve witnessed yet another tragic incident involving horse carriages, this time claiming a human life in New York City. The time has come for Charleston to make a vital change to protect both people and animals. I’m asking for your help in urging our city leaders to approve the use of electric carriages in Charleston.

Currently, there’s a prototype for electric carriages ready to roll onto our streets, but it lacks the necessary approval. This is not just a futuristic gimmick; it’s a safer and more humane option for everyone involved. Why should we continue risking lives when a sustainable and efficient alternative is at our fingertips? The shift to electric carriages can preserve our cherished tradition while ensuring safety.

The issue goes beyond just one incident in New York City—it’s a systemic problem wherever horse carriages are used. Horses endure exhaustion and stress, navigating through hectic urban environments where they’re vulnerable to accidents. We must act to prevent such tragedies here in Charleston.

City officials need to know that their constituents support this change. By adopting electric carriages, we can lead by example, marrying our city’s rich history with innovation and progress. It’s time for Charleston to protect all who call it home—residents, visitors, and animals alike.

Join me in calling on our council members and the mayor to permit electric carriages to operate on our streets. Together, we can make Charleston safer and more compassionate. Please sign this petition to make our voices heard.

Click HERE to sign.

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Related: “No Beds Over Bodies” – Active Online Petition Opposing the College of Charleston plans to build a new dorm on Coming Street

Related: Petition to Stop Riverland Oaks Development on James Island

There is a current petition on Change.org opposing the building of a new College of Charleston dormitory where a cemetery was set aside for unknown enslaved and free people of African and Indigenous descent, poor residents, immigrants, children, sailors, and victims of the Middle Passage. Here are the details.

The Issue

We oppose the College of Charleston’s current plans to build a dormitory at 106 Coming Street, part of Charleston’s former “Strangers and Negroes Burying Ground.” The project is also known as ‘Project 205’ and the ‘Coming Street Commons’.

In use from the 1790’s until 1807, the cemetery was set aside for the unknown of eighteenth- and early nineteenth-century Charleston: enslaved and free people of African and Indigenous descent, poor residents, immigrants, children, sailors, and victims of the Middle Passage. In the mid-20th century, the property was also home to the segregated YWCA, a landmark of Black women’s organizing, community service, and Civil Rights-era resistance.

The decision to buy and develop this site was made before descendant and community engagement could meaningfully weigh whether this cemetery should be disturbed at all. The College has discounted other sites or strategies for needed student housing, and new information about archaeological complexity, cost, time, community opposition, and ethics demands reconsideration.

We call on the College to pause the 106 Coming Street Project, fully evaluate alternatives, and preserve this burial ground in place.

See the College of Charleston’s information at https://coming-street-commons.charleston.edu, and information found at https://protectrespectbodies.com/.

If you would like to provide some basic information about yourself, and/or hear about upcoming meetings and events, please see this Google Form.

Click HERE to sign petition.

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There is an active period on Change.org to say no to the new Riverland Oaks Development. This 4 story, 90+townhouse development would be situated behind the Charleston Pour House.

Click HERE to sign

Details

James Island is one of Charleston’s oldest and most established communities, built around modest homes, mature trees, wetlands, and open space. Today, one of its last remaining 28-acre natural areas—behind The Pour House between Woodland Shores Road and Stefan Drive—is threatened by the proposed Riverland Oaks development.

We are calling on city leaders to both strengthen development review standards to ensure modern neighborhood compatibility, infrastructure capacity, flooding resilience, and traffic safety—and to explore public acquisition of this land as a permanent park or conservation area.

This petition is not about stopping growth. It is about insisting on better planning.

The proposed 95-townhome project would create a nearly mile-long corridor of dense, four-story buildings directly adjacent to established single-story neighborhoods. It would replace valuable natural buffers with rooftops and pavement, increasing pressure on wetlands that help absorb stormwater and reduce flooding. It would also add significant traffic to Riverland Drive, where congestion and pedestrian safety are already serious concerns.

The Planning Commission’s approval was an administrative step based on zoning written more than 30 years ago—not a determination that this project is compatible with today’s James Island. City leaders still have the opportunity to strengthen technical review standards, modernize outdated development regulations, and ensure that neighborhood compatibility, flooding, infrastructure capacity, traffic safety, and preservation of green space receive the scrutiny they deserve.

Once this land is developed, it will be lost forever.

Click to Sign Petition

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By Mark A Leon

The South Carolina Arts Commission has denied state grant funding to two Upstate arts organizations after months of additional review, prompting accusations of discrimination, questions about the state’s arts-funding process and renewed debate over the role of government in supporting artistic expression.

On October 1, the commission’s board voted 5–3 against funding the Greenville Gay Men’s Chorus and Proud Mary Theatre Company of Spartanburg. Both organizations had previously been recommended for funding through the commission’s grant-review process.

The decision came after the commission approved approximately $3.7 million in grants for more than 170 other arts organizations across South Carolina.

What the Organizations Were Seeking

requested approximately $13,050 for general operating expenses, including security, bookkeeping and storage. The organization received a 91 out of 100 score for artistic merit from the commission’s independent review panel and had received state funding previously.

Proud Mary Theatre Company sought approximately $3,866 for upcoming productions. The Spartanburg nonprofit, founded in 2017, focuses on LGBTQIA+ stories and theatrical performances and has also received Arts Commission funding in previous years.

Combined, the two grants represented less than $17,000 in state funding.

For the organizations, however, the significance extends well beyond the dollar amount.

Mary Adam, executive director of the Greenville Gay Men’s Chorus, said the $13,000 represented approximately 13% of the organization’s overall budget. The organization has said private donations have helped replace some of the lost funding, but losing the grant still creates pressure on its ability to cover administrative expenses, staff, artists and performances.

Why Were the Grants Reconsidered?

The controversy began months before the final vote.

In August, commissioners voted to approve the overwhelming majority of grant requests while holding the Greenville Gay Men’s Chorus and Proud Mary Theatre applications for additional consideration.

Commissioner Russell “Rip” Parks said the organizations needed to further defend the artistic merit of their programs.

The organizations subsequently provided additional information requested by the commission, including budget details, employees and vendors who would receive grant-supported funds, and whether state money would support programming in K–12 schools.

Both organizations said the requested grants would not fund K–12 programming.

Public-record emails obtained by the ACLU of South Carolina, however, show that some commissioners had raised concerns about the organizations before the artistic-merit explanation became the stated focus.

In a June email, Parks wrote that he was concerned about defending the grants to legislators who might oppose funding for the Arts Commission. Another commissioner, Jessica Rourke, wrote that she opposed funding organizations structured around specific sexual orientations and said public funds should not support drag performances.

The Arts Commission has maintained that questions about the organizations’ artistic merit had been raised by members of the General Assembly and that the commission was obligated to address those concerns.

A Vote Without an Explanation

The October 1 meeting was held virtually and included an executive session. The board then returned to vote separately on the two grants.

Both votes were 5–3, with the same commissioners voting against each organization.

No board member publicly explained their individual vote, and no public comment was taken during the meeting.

That lack of explanation has become one of the most contentious aspects of the decision.

The ACLU of South Carolina has characterized the decision as viewpoint discrimination and warned that using a vague standard such as “ideology” to determine which art receives public support could have broader First Amendment implications.

The organizations have likewise said they believe the decision was discriminatory and have indicated they are considering possible legal action.

The commission, however, has not publicly said that the organizations were denied funding because they are LGBTQ+.

That distinction is important. The vote is documented; the individual motivations behind the votes are not fully documented.

What is documented is that two LGBTQ+-focused organizations were singled out for additional scrutiny, were previously recommended for funding, and were ultimately denied grants while more than 170 other organizations received funding.

The Impact Goes Beyond $17,000

The immediate financial impact is relatively modest when compared with the Arts Commission’s overall grantmaking. The approximately $17,000 denied to the two organizations represents a tiny fraction of the $3.7 million approved for other organizations.

But the dispute has raised a much larger question for South Carolina’s arts community:

Should government arts funding be determined primarily by artistic merit and established grant criteria, or can the identity, mission or subject matter of an organization become a factor in determining whether it receives public money?

For artists and arts organizations, the answer could influence how they approach future grant applications — particularly organizations whose work centers on LGBTQ+ experiences, race, religion, politics, gender or other subjects that can become politically controversial.

The controversy also arrives amid longstanding political debate over the Arts Commission itself. The agency has faced criticism from conservative lawmakers who have questioned whether taxpayer money should support certain forms of contemporary or politically charged art.

For the broader arts community, the issue is therefore not simply about two organizations losing two relatively small grants. It is about the standards used to determine who receives public support and whether those standards will be applied consistently across South Carolina.

The Community Response

Following the vote, both organizations reported an outpouring of private support.

The Greenville Gay Men’s Chorus launched a fundraising effort and said the issue is about more than replacing $13,000. The organization argues that the process itself matters and that arts funding should be awarded based on the quality and impact of the work rather than the identity of the artists or communities represented.

Proud Mary Theatre has likewise encouraged supporters to contribute directly to its 2026–27 season. The organization continues producing LGBTQIA+ stories and providing a dedicated space for those audiences in the Upstate.

Proud Mary’s next production, “Stage Frights,” is scheduled for October 9 and 10 in Spartanburg, meaning the theater’s regular programming continues despite the loss of state funding.

The controversy has also brought increased attention to the South Carolina Arts Commission itself. Board chair Cindy Harton announced that she will resign effective October 16, citing personal time constraints. Harton did not vote on the October 1 grants because the chair votes only to break a tie.

How We Can Help

For Charleston Daily, this story is also a reminder of the role local media can play in supporting South Carolina’s arts community.

We’ve helped bring attention to both organizations and their circumstances because we believe that stories about the arts are ultimately stories about the people and communities that make South Carolina unique.

But attention is only one part of the equation.

When organizations face unexpected financial challenges, one of the most immediate ways a community can respond is by showing up — attending performances, purchasing tickets, sharing their work and making a direct contribution when possible.

We encourage our readers to learn more about both organizations and consider supporting them directly.

Proud Mary Theatre Company continues to produce theater centered on LGBTQIA+ stories and experiences in Spartanburg. Donations help support its productions, artists and ongoing programming.

Greenville Gay Men’s Chorus continues its mission of bringing choral music and performance to audiences throughout the Upstate. Contributions can help offset the loss of state funding and support the organization’s operating expenses and future performances.

Supporting South Carolina’s arts community doesn’t require everyone to share the same opinions, politics or perspectives.

It can simply mean recognizing the value of having a diverse creative community where artists can perform, audiences can gather and organizations can contribute to the cultural life of their communities.

The decision by the Arts Commission may ultimately be debated in boardrooms, courtrooms or the Statehouse.

But the most immediate response can happen in the community itself — by buying a ticket, attending a performance, sharing an artist’s work or choosing to support an organization that matters to you.

Because arts organizations don’t exist solely because of grants.

They survive because communities show up for them.

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The investment includes plans for a new modern manufacturing facility in Sanford, North Carolina, designed to increase production of compact track loaders and telehandlers to meet customer demand. The project supports Caterpillar’s Cat Compact strategy, which is focused on delivering a more streamlined and convenient experience for small contractors and growing businesses.

“As demand for compact equipment continues to increase, we’re investing to better serve this growing segment of customers,” said Caterpillar Construction Industries Group President Rod Shurman. “This investment is another way we are solving our customers’ toughest challenges by expanding access to the products, solutions and services they need to work more efficiently.”

Compact track loaders and telehandlers are versatile machines used across construction, landscaping, agriculture and material handling applications. Customers rely on these products to move materials, manage jobsites, support workforce productivity and complete critical work safely and efficiently.

The investment will create a modern, technology-enabled manufacturing environment designed to improve safety, quality and operational performance while supporting long-term growth. The facility is expected to incorporate advanced manufacturing technologies, automation, digital production systems and integrated logistics capabilities to create a more connected and efficient operation.

North Carolina was selected for this investment because of Caterpillar’s longstanding presence in the state, the strength of the local workforce, and the opportunity to build on existing manufacturing expertise and operations in Sanford.

“We appreciate the partnership and support of the State of North Carolina, Lee County and the City of Sanford as we continue investing in the future of manufacturing and the customers we serve,” said Shurman.

This investment reflects Caterpillar’s continued commitment to U.S. manufacturing and workforce development. The company expects the project to create opportunities for advanced manufacturing careers while helping employees develop skills in areas such as automation, robotics, digital manufacturing and advanced production systems.

About Caterpillar
For more than a century, Caterpillar has built a better, more sustainable world. With 2025 sales and revenues of $67.6 billion, Caterpillar Inc. is shaping the future as the world’s leading manufacturer of construction and mining equipment, off-highway diesel and natural gas engines, industrial gas turbines and diesel-electric locomotives. Backed by one of the largest independent global dealer networks and financing services through Cat Financial, the company’s primary business segments: Power & Energy, Construction Industries and Resource Industries are solving customers’ toughest challenges through commercial excellence and advanced technology, driven by a highly skilled, dedicated global team. Learn more at www.caterpillar.com. 

SOURCE Caterpillar Inc.

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