
I originally applied to write for thINKingDANCE [tD] because I was

I originally applied to write for thINKingDANCE [tD] because I was
thINKingDANCE is seeking a part-time Executive Editor for the 2019-20 calendar years, and
thINKingDANCE partners with Theatre Philadelphia to expand theater coverage in Philadelphia
What can dance critics tell us about theater?In a quest

Company Wang Ramirez (led by dance and romantic partners Honji
Back in November thINKingDANCE brought on a new writer, Thomas



Pig Iron’s A Period of Animate Existence is described as “symphonic

Our bodies are engaged in a constant struggle against invisible

Strange Tenants: A Stylized Nightmare
Faye (Tess Kunik) lies on her back behind the house

Marxism, Grotowsky, and a Rational Theater
Plays and Players’ Skinner Studio blackbox is set up with

I am grateful to the Village Voice and artist Lauren R. Weinstein for allowing

In the whitewashed, post-industrial lobby of Vox Populi, Meg Foley

Grief, Ritual, and Active Rejection
“Why are we here?” asks Annie Wilson, covered in glitter

Collaborative Public Invention
Pfff! 2016 (Philadelphia Free Form Festival 2016) is presented by the

Love-ish Letters: Write Back Atcha and Jerome Bel’s Gala
The experience of watching Gala is distinctly joyful. A cast

The Ruthless Beauty of Masculinity
I am completely swallowed up. I can’t call this chaos

We sit in clumps of chairs, back-to-back and eye-to-eye, audience


Contact and Chaos: duende’s music and dance quartet
Open Space is a white box just off of 7th

“These are the constants,” says Brett Ashley Robinson. She is

De-mystifying the Birthing Body: Zornitsa Stoyanova
Zornitsa Stoyanova’s solo performance Explicit Female was three years in the making

The Radical Linguistics of Mac Wellman
John Bezark, Jenny Kessler, and I are sitting outside of

Sports, Monsters, and the Unprecedented Event
Mano is a sport invented by the Philadelphia-based theater company

Sam Tower, choreographer and producer of 2015’s dark, choreographic fem-noir Fringe

Three tall walls dramatically cut down the broad playing space


Despite the title—Chopin Without Piano—the first thing co-creator/performer Barbara Wysocka

A short, brutal-looking sword hangs over the head of Thebes
Julius Ferraro is a journalist, performer, playwright, and project manager based in Philadelphia. His recent plays include Parrot Talk, Micromania, and The Death and Painful Dismemberment of Paul W. Auster. He is a former staff writer and Editor-in-Chief with thINKingDANCE.