Bess Rowen, Villanova University

Most theater subscriptions offer a patron access to a single theater’s season. But Philadelphia’s new Citywide James Ijames Pass provides tickets to three James Ijames – pronounced EYE-ms, rhymes with “chimes” – plays at three theaters in Philadelphia. Subscribers will also get one mustard-colored beanie, one of Ijames’ signature accessories.

The full pass, which costs US$130, includes tickets for the Arden Theatre’s “Good Bones,” which premiered Jan. 22 and runs through March 22, the Wilma Theater’s “The Most Spectacularly Lamentable Trial of Miz Martha Washington,” which runs March 17 to April 5, and the Philadelphia Theatre Company’s “Wilderness Generation,” a world premiere that runs April 10 to May 3. There is also a two-show pass for $90 without “Good Bones.”

I’m a theater theorist, historian and practitioner who has written about Ijames’ work before and after his 2022 Pulitzer Prize. I believe this landmark collaboration between three important Philadelphia theaters is a fitting celebration of a multi-hyphenate theater artist who continues to champion his longtime artistic home.

Actor, playwright, director

Ijames, 46, was born in North Carolina and attended Morehouse College in Atlanta, Georgia. He earned his Master of Fine Arts degree at Temple University and stayed in Philadelphia after graduating.

Notably, this playwright’s MFA is in the study of acting. Ijames is also a talented director, and he performed and directed at multiple theaters around Philadelphia before starting to work as a playwright. He was also a tenured professor of theater at Villanova University, where I had the privilege to work with him and watch his creative process before he moved to New York City in 2025 to run the playwriting concentration at Columbia University.

Ijames was already a local celebrity in Philly before winning the Pulitzer Prize for drama for “Fat Ham,” his Hamlet adaptation centered on a queer Black Hamlet named Juicy and the legacy of his father’s barbecue joint. The New York theater scene took notice of him when the National Black Theatre staged “Kill Move Paradise” in 2017. This haunting piece is set in limbo, where unarmed Black men who have been killed by police examine how they have come to this place and how society continues to enable this pattern.

Other Ijames plays include “White,” a satire of the art world that tells the story of a gay white male artist who hires a Black woman actor to pretend to have done his work to see if that makes a difference in how his art is viewed. “TJ Loves Sally 4Ever” sets Thomas Jefferson and Sally Hemings’ relationship on a college campus where “TJ” is a dean and Sally is a student. And “Reverie” is a chamber play, which is an intimate meditation with an earnest and somber tone. In it, the father of a recently deceased Black gay man comes to meet the man he believed was his son’s partner.

Most recently, in 2025, Ijames partnered with the Australian pop singer Sia on a musical called “Saturday Church.” It is a story about reconciling queer community and Christian faith, and relying on the support of family, both biological and chosen.

Charting new dramatic territory

Although his theatrical styles and genres vary, at his core, Ijames writes nuanced, character-driven works that revolve around interpersonal relationships. His plays are playgrounds for performers, particularly due to his ability to write complex queer Black characters.

Influential American playwright Suzan-Lori Parks notes in her 1994 essay “Elements of Style” that the conflict between Black people and white people is the default trope of how Black people have been represented onstage – by almost exclusively white playwrights – for most of U.S. theater history. Parks posits that a way to avoid this centering of white conflict in Black lives comes from new dramatic territory that depicts conflicts between Black people and anything else.

Ijames never sets his Black characters in opposition to white society alone. He also refuses to take up the tropes of LGBTQ identity as incompatible with religion, or the idea that characters can be only gay or straight. Instead, Ijames creates narratives with queer religious people and pansexual men whose identities are not sources of conflict.

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The citywide pass

The plays in the citywide pass offer an exciting cross section of what makes Ijames’s work so vibrant.

“Good Bones” is the story of a now-affluent Black woman, Aisha, who moves back to her blue-collar hometown. Aisha might be from this working-class neighborhood, but her elaborate renovations and white-collar sensibilities make her return seem more like gentrification than homecoming, at least as far as her local contractor can see.

“Miz Martha” follows the titular Martha Washington through a fever-dream-inspired trial in her final moments, as enslaved people care for her while knowing her death means their freedom.

And “Wilderness Generation” follows five cousins reunited in the U.S. South after many years apart, ready to talk about the secrets from their pasts.

With theater’s ever-changing and unstable financial landscape, I believe the Citywide James Ijames Pass is an exciting new subscriber model. The collaboration highlights Philadelphia’s theatrical talent and banks on local theaters working together to build audiences instead of treating each other as competition – a new development that could change how regional theater scenes operate.

Bess Rowen, Assistant Professor of Theatre, Villanova University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Last Updated on February 7, 2026 by Daily News Staff

Jared Bahir Browsh, University of Colorado Boulder

Bad Bunny’s Super Bowl show is part of long play drawn up by NFL to score with Latin America

Donald Trump, it is fair to assume, will be switching channels during this year’s Super Bowl halftime show.

The U.S. president has already said that he won’t be attending Super Bowl LX in person, suggesting that the venue, Levi’s Stadium in Santa Clara, California, was “just too far away.” But the choice of celebrity entertainment planned for the main break – Puerto Rican reggaeton star Bad Bunny and recently announced pregame addition Green Day – didn’t appeal. “I’m anti-them. I think it’s a terrible choice. All it does is sow hatred. Terrible,” Trump told the New York Post.

National Football League Commissioner Roger Goodell likely didn’t have the sensibilities of the U.S. president in mind when the choice of Bad Bunny was made.

One of the top artists in the world, Bad Bunny performs primarily in Spanish and has been critical of immigration enforcement, which factored into the backlash in some conservative circles to the choice. Bad Bunny’s anti-ICE comments at this year’s Grammy Awards will have only stoked the ire of some conservatives.

But for the NFL hierarchy, this was likely a business decision, not a political one. The league has its eyes on expansion into Latin America; Bad Bunny, they hope, will be a ratings-winning means to an end. It has made such bets in the past. In 2020, Shakira and Jennifer Lopez were chosen to perform, with Bad Bunny making an appearance. The choice then, too, was seen as controversial.

Raising the flag overseas

As a teacher and scholar of critical sports studies, I study the global growth of U.S.-based sports leagues overseas.

Some, like the National Basketball Association, are at an advantage. The sport is played around the globe and has large support bases in Asia – notably in the Philippines and China – as well as in Europe, Australia and Canada.

The NFL, by contrast, is largely entering markets that have comparatively little knowledge and experience with football and its players.

The league has opted for a multiprong approach to attracting international fans, including lobbying to get flag football into the 2028 Olympics in Los Angeles.

Playing the field

When it comes to the traditional tackle game, the NFL has held global aspirations for over three-quarters of a century. Between 1950-1961, before they merged, the NFL and American Football League played seven games against teams in Canada’s CFL to strengthen the relationship between the two nations’ leagues.

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Developing a fan base south of the border has long been part of the plan.

The first international exhibition game between two NFL teams was supposed to take place in Mexico City in 1968. But Mexican protest over the economy and cost of staging the Olympics that year led the game, between the Detroit Lions and Philadelphia Eagles, to be canceled.

Instead, it was Montreal that staged the first international exhibition match the following year.

In 1986, the NFL added an annual international preseason game, the “American Bowl,” to reach international fans, including several games in Mexico City and one in Monterrey.

But the more concerted effort was to grow football in the potentially lucrative, and familiar, European market.

After several attempts by the NFL and other entities in the 1970s and ’80s to establish an international football league, the NFL-backed World League of Football launched in 1991. Featuring six teams from the United States, one from Canada and three from Europe, the spring league lost money but provided evidence that there was a market for American football in Europe, leading to the establishment of NFL Europe.

But NFL bosses have long had wider ambitions. The league staged 13 games in Tokyo, beginning in 1976, and planned exhibitions for 2007 and 2009 in China that were ultimately canceled. These attempts did not have the same success as in Europe.

Beyond exhibitions

The NFL’s outreach in Latin America has been decades in the making. After six exhibition matches in Mexico between 1978 and 2001, the NFL chose Mexico City as the venue of its first regular season game outside the United States.

In 2005, it pitted the Arizona Cardinals against the San Francisco 49ers at Estadio Azteca in Mexico City. Marketed as “Fútbol Americano,” it drew the largest attendance in NFL history, with over 103,000 spectators.

The following year, Goodell was named commissioner and announced that the NFL would focus future international efforts on regular-season games.

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The U.K. was a safe bet due to the established stadium infrastructure and the country’s small but passionate fan base. The NFL International Series was played exclusively in London between 2007 and 2016.

But in 2016, the NFL finally returned to Mexico City, staging a regular-season game between the Oakland – now Las Vegas – Raiders and Houston Texans.

And after the completion of upgrades to Latin America’s largest stadium, Estadio Azteca, the NFL will return to Mexico City in 2026, along with games in Munich, Berlin and London. Future plans include expanding the series to include Sydney, Australia, and Rio de Janeiro, Brazil, in 2026.

The International Player Pathway program also offers players from outside the United States an opportunity to train and earn a roster spot on an NFL team. The hope is that future Latin American players could help expand the sport in their home countries, similar to how Yao Ming expanded the NBA fan base in China after joining the Houston Rockets, and Shohei Ohtani did the same for baseball in Japan while playing in Los Angeles.

Heading south of the border

The NFL’s strategy has gained the league a foothold in Latin America.

Mexico and Brazil have become the two largest international markets for the NFL, with nearly 40 million fans in each of the nations.

Although this represents a fraction of the overall sports fans in each nation, the raw numbers match the overall Latino fan base in the United States. In recent years the NFL has celebrated Latino Heritage Month through its Por La Cultura campaign, highlighting Latino players past and present.

Latin America also offers practical advantages. Mexico has long had access to NFL games as the southern neighbor to the United States, with the Dallas Cowboys among the most popular teams in Mexico.

For broadcasters, Central and South America offer less disruption in regards to time zones. Games in Europe start as early as 6:30 a.m. for West Coast fans, whereas Mexico City follows Central time, and Brasilia time is only one to two hours ahead of Eastern time.

The NFL’s expansion plans are not without criticism. Domestically, fans have complained that teams playing outside the U.S. borders means one less home game for season-ticket holders. And some teams have embraced international games more than others.

Another criticism is the league, which has reported revenues of over US$23 billion during the 2024-25 season – nearly double any other U.S.-based league – is using its resources to displace local sports. There are also those who see expansion of the league as a form of cultural imperialism. These criticisms often intersect with long-held ideas around the league promoting militarism, nationalism and American exceptionalism.

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Bad Bunny: No Hail Mary attempt

For sure, the choice of Bad Bunny as the halftime pick is controversial, given the current political climate around immigration. The artist removed tour dates on the U.S. mainland in 2025 due to concerns about ICE targeting fans at his concerts, a concern reinforced by threats from the Department of Homeland Security that they would do just that at the Super Bowl.

But in sticking with Bad Bunny, the NFL is showing it is willing to face down a section of its traditional support and bet instead on Latin American fans not just tuning in for the halftime show but for the whole game – and falling in love with football, too.

Jared Bahir Browsh, Assistant Teaching Professor of Critical Sports Studies, University of Colorado Boulder

This article is republished from The Conversation under a Creative Commons license. Read the original article.