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Bath’s historic Farleigh House training centre has been spruced up this week with black flags fluttering alongside a new “Choose Greatness” banner, signalling the club’s ambition as they approach a Champions Cup last‑16 tie with Saracens. For Max Ojomoh, the atmosphere feels like a personal challenge. Just weeks after collecting the Man of the Match award for his decisive performance against Argentina, the 25‑year‑old found himself omitted from Steve Borthwick’s Six Nations squad. Ojomoh believes that a dominant display for Bath – especially after the 62‑15 demolition of Saracens in the Premiership – could revive his England prospects, but he also acknowledges that national selectors may have a specific back‑line profile in mind for the upcoming World Cup. Reflecting on his Argentina heroics, Ojomoh said, “If that was my final Test, I’m happy to have left a mark on international rugby.” Yet the disappointment of watching England lose to Ireland from a Moroccan pub underscores how close the margins are for a player on the fringe. He explained the selection dilemma: with centre Ollie Lawrence returning from injury, the squad needed a more physical ball‑carrier, and Ojomoh’s role as a second‑receiver/playmaker meant he was the one to make way. England’s coaching staff have asked him to sharpen three key areas – post‑contact metres, defensive intensity and overall work‑rate. While these are valid targets, Ojomoh points out that few English centres combine his blend of pace, vision and creative kicking. Back at Bath, his partnership with newly‑signed Finn Russell has blossomed. “When we signed Finn, I didn’t expect us to think alike on attack,” Ojomoh remarked, highlighting a shared instinct that fuels his confidence. Coach Johann van Graan’s influence is evident, with the club’s motivational signage and a focused training environment that Ojomoh describes as “single‑minded”. He hopes the upcoming match will provide a platform for a first home Champions Cup quarter‑final since 2002. Family wisdom also plays a role; his father, former England centre Steve Ojomoh, reminded him that “the cream always rises to the top”. With a business degree from the University of Bath and a hobby of online chess, the younger Ojomoh is aware that consistent club performances could shift national perception. Looking ahead, Ojomoh is determined to make the 2027 World Cup squad. He admits that obsession over selection can be self‑destructive, emphasizing the need for mental clarity and playing with the same confidence he shows in his head. As Bath prepares for the high‑stakes clash with Saracens, Ojomoh’s mantra remains clear: choose greatness, stay true to his strengths, and let his on‑field X‑factor speak for itself.

Les Kiss is set to take over the Wallabies in July, inheriting a side desperate to climb back to the top of world rugby. He faces a tight schedule – 14 months and 19 Tests – before the 2027 Rugby World Cup that Australia will host. Describing his mandate, Kiss stresses that he is not aiming for a radical overhaul. "It's not a revolution, it's evolution," he told the Guardian. "Core values like discipline, accountability and strategic planning stay firmly in place." What makes Kiss an outlier is his background: a former rugby league international who never played union at senior level. He says this forced him to "earn his stripes" in the union code, learning that culture and standards in the locker room drive performance on the field. His personal story is rooted in a family that escaped the Hungarian Revolution and settled in Bundaberg, and a playing career that saw him sprint down the wing before a knee injury sidelined him for four years. Those experiences, he believes, forged the resilience he now brings to coaching. After a stint in marketing and junior coaching, Kiss transitioned to union coaching, first as a defence coach for the Springboks (2001‑02), then as an assistant with Ireland (2009‑15), director of Ulster Rugby, and finally a three‑year spell with London Irish in the Premiership. Returning to Australia in 2024 to lead the Queensland Reds, he guided the franchise to its most prolific try‑scoring season in three decades, back‑to‑back quarter‑final appearances and record crowd numbers. The Reds sit 4‑2 in the 2026 Super Rugby Pacific season and are eyeing a top‑four finish. Kiss’s coaching philosophy centres on connection. "Coaching is about rapport and building something strong together," he says, adding that he is fully invested and treats every team like family. His transition to the Wallabies will be smoothed by a close partnership with current head coach Joe Schmidt. The two have shared roughly 40 Tests, developing a strong rapport that Kiss believes will help him "understand the breakdown" and set the right structures for success. The emerging "Kiss army" already includes former All Blacks staffer Scott McLeod as defence coach, analyst Eoin Toolan, set‑piece specialist Tom Donnelly, scrum guru Mike Cron, and consultant Laurie Fisher. Skills coach Mick Byrne and U20s boss Chris Whitaker also remain on board. While his new responsibilities grow, Kiss assures fans he remains 100% committed to the Reds, vowing not to let the franchise down despite his expanding duties. On the player front, Kiss highlights a blend of seasoned talent and fresh faces that could power Australia’s World Cup campaign. The likes of Mark Nawaqanitawase, Max Jorgensen, former winger Dylan Pietsch, and NRL convert Zac Lomax are poised to add dynamism, while 18‑year‑old prodigy Treyvan Pritachard offers a glimpse of the future. Ultimately, Kiss believes the Wallabies embody a uniquely Australian style – inventive, physical, and expressive – forged in backyard games and a culture of resilience. "The Australian way isn’t formulaic; it’s about solving problems on the field in our own special way," he concludes.

On a cobbled lane in Belfast’s Cathedral Quarter, the Kindred of Ireland boutique draws shoppers with oversized butter‑yellow linen blouses and Donegal mulberry tweed jackets accented by rose‑pink linen bows, signalling a fresh commercial pulse for a fabric that once defined the city.Linen earned Belfast the nickname “Linenopolis” when, at its height, the industry employed about 40% of Northern Ireland’s workforce. After a post‑war collapse, the trade faded, but today it is re‑emerging as a marker of local identity and sustainable fashion.Designer Amy Anderson, whose grandmother worked as a mill‑hand in Moygashel, says the fibre remains deeply personal for many families. Her modern, Japanese‑inspired silhouettes rely on linen’s natural structure to balance avant‑garde volume with comfort.Reviving a near‑extinct industry is daunting, yet Belfast’s history of turning adversity into opportunity—exemplified by the Titanic Quarter’s tourism boom—has attracted an eclectic coalition of supporters. Among them are former blacksmith Charlie Mallon, who has converted his 150‑year‑old Magherafelt farm into a regenerative flax operation, and fashion heavyweight Sarah Burton, former creative director of Alexander McQueen.Mallon’s restoration of heritage machinery aims to keep flax “field‑to‑fibre” in Ireland, preserving the long fibre length that makes linen less prone to creasing. He contrasts this with most modern linen, which is “cottonised” in China, shortening fibres and increasing wrinkles.Burton’s two‑day field trip to Northern Ireland inspired the spring 2020 Alexander McQueen collection, featuring a beetled linen gown with a pearl‑like sheen that debuted on the Paris runway.In autumn, the Prince and Princess of Wales visited Mallon Farm, expressing a rare interest in sustainable fashion and regenerative agriculture. The Princess, who usually avoids media focus on her wardrobe, asked detailed questions about the Andersons’ brand, underscoring the royal endorsement of Belfast’s textile renaissance.The city’s fashion resurgence is also celebrated at the Ulster Museum’s “Ashes to Fashion” exhibition, which juxtaposes historic silk ballgowns with contemporary pieces by Irish designers, including Kindred of Ireland.Looking ahead, Kindred of Ireland plans a temporary boutique in central London, building on a successful six‑week Mayfair pop‑up that the brand describes as “commercial rocket fuel.” The Andersons note that Northern Irish firms benefit from full access to the UK market while still aligning with certain EU single‑market rules under the Windsor framework, offering a strategic advantage for product‑focused businesses.

Pep Guardiola has expressed that he will not obstruct Rodri's potential transfer to Real Madrid if the midfielder desires to leave Manchester City. However, Guardiola believes Rodri will remain at the club beyond this summer.Rodri, whose contract with City expires in June 2027, was questioned about reports that Real Madrid's president, Florentino Pérez, is interested in signing him. The 29-year-old noted that being a former Atlético Madrid player would not be an obstacle, referencing other players who have made similar moves.Guardiola emphasized that the club's organization is above individual players, and if a player is unhappy, they should be allowed to leave. He expressed his positive feelings about Rodri staying at City, highlighting the midfielder's significant contributions to the team.Guardiola's own contract with City also expires in the summer of 2027, but he stated that he has previously discussed his future and sees no need to revisit the topic.City will host Liverpool in an FA Cup quarter-final on Saturday, with Guardiola aiming to make history by leading a team to a fourth consecutive final.

Enzo Fernández will miss Chelsea’s upcoming FA Cup quarter‑final against Port Vale and the Premier League clash with Manchester City, after manager Liam Rosenior announced a two‑match suspension for the Argentine midfielder. Rosenior said Fernández had “crossed a line” during the international break by questioning his future at Stamford Bridge and expressing a desire to live in Madrid – comments widely interpreted as a hint toward a move to Real Madrid, a club he has long been linked with. “It’s disappointing to speak in that way,” Rosenior added. “The sanction protects our culture; the door remains open for Enzo, but a line was crossed during the break.” Despite the ban, Fernández will continue training with the first‑team squad. The midfielder joined Chelsea from Benfica in January 2023 for a British record fee of £107 million. His agent, former Argentine international Javier Pastore, condemned the punishment as “completely unfair”, arguing that the two matches are crucial for Chelsea’s Champions League qualification hopes and that Fernández never indicated a desire to leave the club. Fernández’s remarks were not the only source of controversy during the break. teammate Marc Cucurella sparked headlines by suggesting he might be open to a return to Barcelona, prompting Rosenior to reassure that Cucurella remains fully committed to Chelsea. Chelsea entered the break on a four‑match losing streak, having suffered an 8‑2 aggregate defeat to Paris Saint‑Germain in the Champions League last‑16 – a period Rosenior described as “the most difficult ten days of my career as a player or a coach”. Head coach Pochettino insisted there is no division in the dressing room, urging the squad to unite and regain form after the international hiatus. Rosenior also hinted that other senior players, including captain Reece James, may soon reaffirm their commitment by signing new contracts, signalling a push to stabilise the club’s project. Injuries also loom: James, Trevoh Chalobah and Levi Colwill are unavailable for the Port Vale tie, while newcomers Estêvão and Jamie Gittens are fit to feature.

Millwall secured a vital win over Middlesbrough in the Championship, with Josh Coburn scoring twice to propel his team into second place in the promotion race. The victory, marked by a 2-1 scoreline, sees Millwall just one point ahead of Middlesbrough, with Coventry currently leading the table. The match was characterized by Middlesbrough's possession dominance, but their inability to convert chances into goals. Dael Fry's 26th-minute header gave Boro an early lead, but Millwall equalized in the 58th minute when Coburn's powerful volley found the net after a corner was poorly defended. Coburn, a 23-year-old striker and former Middlesbrough academy graduate, doubled Millwall's lead in the 86th minute with a beautifully angled shot, securing the win. This performance underscores Coburn's impressive form, having scored five goals in his last five games. Alex Neil's Millwall demonstrated resilience and composure, particularly in the second half, to outmaneuver Kim Hellberg's Middlesbrough. Neil praised his team's performance, highlighting their defensive solidity and clinical finishing. In contrast, Hellberg expressed disappointment, noting that his team's possession-heavy approach failed to yield results in critical areas. This win boosts Millwall's prospects for Premier League promotion, although fourth-placed Ipswich still has two games in hand and remains a strong contender. The result marks a significant setback for Middlesbrough, who are now under pressure to regain their position in the promotion race.

Peter Whelan and the Irish Baroque Orchestra have returned Handel’s Messiah to Dublin, the city of its 1742 debut, with a landmark recording that is the first period‑instrument rendition by an Irish ensemble. The project seeks to echo the original performance at the Fishamble Street music hall, where audience etiquette was so strict that women were asked to forgo hoop skirts and men to leave their swords at home.The album features a cast of historically informed singers. Helen Charlston delivers the contralto arias once associated with the scandal‑ridden Susannah Cibber, her voice described as firm, slightly metallic and unflaggingly expressive. A rare duet‑and‑chorus version of “How Beautiful Are the Feet,” originally written for two Dublin cathedral countertenors, showcases Alexander Chance in buoyant form, while soprano Hilary Cronin provides a sweet‑sounding contrast.Whelan draws a fleet‑footed performance from a modest 13‑member choir and the orchestra, resulting in vocal lines that are light, precise, and at times almost conversational. Formerly a bassoonist with the orchestra, Whelan is poised to succeed Nicholas McGegan as music director of San Francisco’s Philharmonia Baroque, cementing his status as a rising star in the baroque world.Listeners can stream the recording on Apple Music or Spotify.

Winsome Pinnock’s latest play, The Authenticator, opens at the Dorfman Theatre, National Theatre, London, and immediately subverts expectations by pairing a serious examination of erased Black histories with a lively, comedic tone.The story follows Fen (Sylvestra Le Touzel), a direct descendant of the 18th‑century enslaver Henry Harford, who discovers a cache of his Jamaican farm diaries. She entrusts the documents to two Black academics – Abi (Rakie Ayola), an Oxford‑educated scholar of Nigerian descent, and her mentee Marva (Cherrelle Skeete), a bright working‑class woman whose grandfather’s mysterious disappearance ties back to the Harford estate.Their investigative partnership feels like a modern Holmes‑Watson dynamic, allowing Pinnock to explore the tangled intersections of class, race, and inherited privilege. Abi’s privileged background and Marva’s grassroots perspective highlight how historical complicity can span generations.While the plot leans on some convenient coincidences reminiscent of an Agatha Christie puzzle, the play’s strength lies in its razor‑sharp dialogue and satirical wit, which keep the narrative brisk and entertaining.Visually, the production leans into a haunted‑house aesthetic: designer Jon Bausor’s set features gilt‑edged frames, trapdoors leading to a cellar of “dirty secrets,” and atmospheric lighting that flickers like candle‑lit torches, underscored by a nervous string quartet.Much of the humour centres on Fen, portrayed as a “tweedy do‑gooder” eager to atone for her family’s sins yet quick to deflect blame. Her self‑portrait as a former Oxford punk adds a layer of absurdity, drawing parallels to the post‑colonial satire of films like Knives Out.Pinnock also skewers the modern aristocracy that monetises heritage properties, illustrated by a grime‑artist filming by the estate’s fountain and a fabricated ghost tour designed to attract tourists.The play does not shy away from genuine hauntings. A Blackamoor statue is hidden away after the 2020 debates over colonial monuments, and missing diary pages hint at violence against an enslaved woman named “Black Sarah.”Director Miranda Cromwell navigates the tonal shifts deftly, ensuring that the humour never eclipses the underlying guilt and pain embedded in the characters’ histories.Ultimately, The Authenticator succeeds by delivering a “lightness of touch” that makes confronting toxic colonial legacies both accessible and thought‑provoking, offering audiences a disarming yet incisive look at how societies reckon with their past.

Alan Cumming’s latest theatrical venture – The High Life: The Musical, Still Living It! – bursts onto the stage as a gleeful, pantomime‑style extension of the cult 1994 TV sitcom. Co‑written by series creator Johnny McKnight alongside Alan Cumming and Forbes Masson, the production is deliberately overloaded with jokes, ranging from references to Andrew Mountbatten‑Windsor to a tongue‑in‑cheek nod to Sheena Easton. The show’s panto DNA runs deep. Audiences are addressed directly, invited to sing along, and treated to an underwater neon‑tube dance. The set, a whimsical take on a Brigadoon‑style hotel, features tartan wallpaper designed by Colin Richmond, a life‑size dog, and multiple costume changes that heighten the spectacle. Returning to the stage, Cumming reprises the role of flight attendant Sebastian Flight, while Masson appears as his counterpart Steve McCracken. They are joined by a “legacy cast” that includes Siobhan Redmond as the exacting supervisor Shona Spurtle and Patrick Ryecart delivering a delightfully unhinged performance as Captain Hilary Duff. Supporting them are high‑energy performers Rachael Kendall Brown, Louise McCarthy and Kyle Gardiner, who navigate Masson’s clever, rhyming songs that swing from Broadway flair to Eurovision sparkle. Beyond the slapstick plot – a cartoonish battle over the fictional airline Air Scotia and a detour to the “Lower Largo Triangle” – the musical hints at deeper questions about ageing, national identity and the need for cultural renewal, echoing themes raised in earlier Scottish adaptations. Directed by Andrew Panton, the production is a joint effort between Dundee Rep and the National Theatre of Scotland. It runs at Dundee Rep until 4 April before embarking on a UK tour that concludes on 23 May. In the end, the show is less a philosophical treatise and more a big, joyous laugh‑fest that celebrates the spirit of pantomime.