Entertainment
Philly theaters unite to stage 3 plays by Pulitzer-winning playwright James Ijames
James Ijames, 2022 Pulitzer Prize winner for “Fat Ham,” is celebrated with a Citywide Pass in Philadelphia, offering access to three of his plays across different theaters. This initiative fosters collaboration among local theaters and showcases Ijames’ unique ability to create nuanced, character-driven narratives that explore complex queer and Black identities.
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.
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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New hybrid event aims to give grieving audiences meaningful holiday viewing, with films from more than 25 countries and a mission centered on love, loss, and emotional truth.
A new film festival debuting in late 2026 is taking a different approach to holiday entertainment. Grief Fest™: The Grief Film Festival, created by My Grief Angels Inc., is being introduced as what organizers believe is the world’s first film festival dedicated entirely to grief, remembrance, resilience, and healing.
The hybrid festival will run in two segments: November 25–29, 2026, during Thanksgiving week, and December 24, 2026, through January 3, 2027, during Christmas and New Year’s. Top Honors films will be announced on December 31, 2026.
Organizers say the timing is intentional. Research cited in the announcement shows that grief and loneliness are major holiday stressors for many Americans, making the season especially difficult for people coping with loss. In that context, Grief Fest™ is positioning itself as an alternative to the flood of traditional feel-good holiday programming.
The festival is open to short films, features, documentaries, experimental work, AI-generated projects, and VR experiences. It is described as inclusive, non-religious, and LGBTQ+ friendly, with submissions already received from more than 25 countries. All films will be presented in English, either spoken or subtitled.
Grief Fest™ will be available both in person and virtually through Film Festival Plus, making it accessible to audiences worldwide. The launch of GriefFest.com also includes Lumen, a multilingual AI guide designed to help filmmakers and attendees navigate the festival in their preferred language.
Rather than focusing on industry prestige, organizers say the festival is centered on community and emotionally honest storytelling. For audiences who feel unseen during the holidays, Grief Fest™ is aiming to offer something rare on the seasonal screen: recognition.
Source: PR Newswire
Related Reading
- Grief Fest: Official festival site
- My Grief Angels Inc.: About the nonprofit behind the festival
- Film Festival Plus: Virtual access platform
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anime
Bible Anime Series in Development at Texas Studio With Global Faith-Based Ambitions
A Texas animation studio is developing a TV-MA Bible anime series, blending faith-based storytelling with cinematic anime for global streaming audiences.
Last Updated on April 10, 2026 by Daily News Staff
A Fort Worth animation company is betting that faith-based storytelling and anime can meet in a way that feels cinematic, serious, and built for modern streaming audiences.
History In Motion Studios has announced Shinjitsu Ugoki (Truth Movement), a TV-MA Bible anime series now in development. The Texas-based studio says the project is designed for mature audiences and will present biblical narratives through serialized storytelling, theological research, and character-driven drama.
The announcement places the studio at the intersection of two growing markets: faith-based entertainmentand the global anime industry. Rather than aiming for a traditional family format, the series is being positioned as a more intense, long-form production shaped by conflict, consequence, and spiritual tension.
History In Motion Studios is also using Unreal Engine as part of its production pipeline to support cinematic world-building and high-fidelity environments. Script development, early character design, and broader production planning are underway through 2026.
Founder Edith Alvarado said the studio sees a major opportunity in bringing biblical storytelling into anime.
“As audiences continue to seek meaningful, story-driven content, we believe there is significant opportunity within the anime format to engage biblical narratives with depth and seriousness,” Alvarado said. “The question isn’t whether biblical stories belong in anime, it’s why it took this long. We’re here to change that; Anime will know the story of Jesus.”
The women-led Christian studio operates out of Fort Worth, adding to the growing list of independent creative companies building outside traditional entertainment hubs. As of Q1 2026, the series remains in active development, with more partnership and expansion announcements expected later this year.
Related Links
Source: History In Motion Studios
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MINNEAPOLIS — The powerful new documentary Come Talk to ME is set to make its big-screen debut at the Minneapolis–Saint Paul International Film Festival (MSPIFF), marking a significant milestone for the independently produced film centered on Parkinson’s disease, communication, and human connection.
The 2026 festival, running April 8–19, will feature more than 200 films from around the world. Come Talk to ME is scheduled for two screenings, including a meaningful premiere on April 11—World Parkinson’s Day—followed by a second showing on April 14. Both screenings will take place at the Main Cinema at Saint Anthony Main in Minneapolis.
A Story About Communication and Connection
Directed by Deacon Warner and produced by Jackie Hunt Christensen, the documentary follows Christensen, her husband Paul, and a close-knit group of friends living with Parkinson’s disease.
The film explores how communication evolves as the disease progresses, highlighting the creative and deeply human ways individuals maintain relationships—with family, friends, and healthcare providers—even as traditional speech becomes more challenging.
Christensen, diagnosed with Parkinson’s at just 34, emphasizes that the film is ultimately about preserving connection:
“Having Parkinson’s does not mean that you stop loving, caring, and feeling… communication is everything.”
Innovative Use of AI Voice Technology
One of the film’s most groundbreaking elements is its use of AI-generated narration powered by ElevenLabs.
The filmmakers recreated Christensen’s voice using archival audio recorded shortly after her diagnosis in 2000. This AI-generated voice—nicknamed “JHC2K”—serves as the primary narrator, allowing Christensen to “speak” throughout the film in a way that would otherwise be difficult due to the progression of Parkinson’s.
Director Warner called the experience both innovative and deeply personal:
“To be part of [MSPIFF’s] rich history… while also utilizing cutting-edge AI technology to set us apart from other films is incredible.”
Festival Screenings and Accessibility
Come Talk to ME will screen twice during the festival:
- Saturday, April 11 (World Parkinson’s Day) – Early afternoon (time TBD)
- Tuesday, April 14 – Late afternoon (time TBD)
Ticket pricing:
- MSP Film Society Members: $11
- General Admission: $17 (+ online fee)
- Students: $10 (with ID)
In a move aligned with the film’s mission, the April 11 screening will offer free admission (donation-based) for individuals affected by Parkinson’s disease.
The venue also provides limited wheelchair seating on a first-come, first-served basis.
A Film Seeking Broader Impact
Beyond its festival debut, Come Talk to ME is actively seeking sponsors to expand its reach and impact. The filmmakers hope to bring the documentary to wider audiences, particularly within communities affected by Parkinson’s disease.
At its core, the film delivers a powerful message: even as physical abilities change, the need for connection—and the human drive to communicate—remains constant.
Why This Film Matters
As awareness of Parkinson’s disease continues to grow, Come Talk to ME stands out as both an emotional narrative and a technological milestone. By combining personal storytelling with AI innovation, the film offers a new way to understand life with Parkinson’s—and the enduring importance of being heard.
Source and Related Links
- Minneapolis–Saint Paul International Film Festival (MSPIFF) Official Site
- MSP Film Society Official Website
- World Parkinson’s Day – Official Information
- Parkinson’s Foundation – Resources & Support
- The Michael J. Fox Foundation for Parkinson’s Research
- ElevenLabs – AI Voice Technology Platform
STM Daily News’ Entertainment section delivers the latest on movies, television, music, pop culture, events, and industry buzz. From breaking news and trending stories to feature coverage and community-centered entertainment reporting, it keeps readers connected to what’s happening on screen, on stage, and beyond.
