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Richard Wagner’s near‑death at sea in 1839 inspired the legend of the cursed ghost ship that underpins The Flying Dutchman. The Welsh National Opera (WNO) brings this myth to life in a fresh production that treats the libretto as a poetic meditation on birth, love, and mortality. Directed by Jack Furness, the opening scene intertwines a woman’s labor with the overture’s turbulent surges, symbolising the birth of Senta—destined to lose her mother and become haunted by the Dutchman’s promise of redemption, which can surface only once every seven years. Visual motifs—circling movements, blood‑red dresses echoing the ship’s sails—reinforce the cyclical fate of both protagonists. Designer Elin Steele and lighting designer Lizzie Powell conjure stormy seas and mist without literal ships, allowing the audience to focus on the raw emotions conveyed by the singers. Minimalist set pieces, occasional gold‑dust flourishes, and precise costume changes keep the drama tight and immersive. The cast delivers a musically rewarding performance. James Creswell shines as Daland with crystal‑clear German diction, while Simon Bailey portrays the tormented Dutchman with a compelling blend of menace and sympathy, especially in the final act. Rachel Nicholls as Senta offers a believable, passionately deluded love, delivering bel canto lines with immaculate pitch. Tenors Trystan Llŷr Griffiths (the Steersman) and Leonardo Caimi (Erik) make strong impressions, though the opera’s numerous choruses feel over‑extended. The WNO orchestra, under the authoritative baton of outgoing music director Tomáš Hanus, creates a convincing tempest that underpins the drama. Facing a thin 2026/27 season, the company is eager to prove its vitality, making these performances a must‑see—though audiences should not anticipate a conventional resolution. Staging dates include the Wales Millennium Centre in Cardiff (19 April), Theatre Royal Plymouth (24 April), Birmingham Hippodrome (7 May) and Milton Keynes Theatre (15 May).Review by Rian Evans, The Guardian, 17 April 2026.

Equity’s Choreographers and Movement Directors Network (CMDN) says that theatre’s physical storytellers are still marginalised by awards bodies and should receive dedicated recognition.At the recent Olivier Awards, Fabian Aloise secured the best theatre choreographer prize for "Evita" at the London Palladium. While the network welcomed the visibility, it pointed out that the movement directors behind the nominated productions were omitted from any specific category, sparking a broader debate about the language used to credit theatrical creation.CMDN highlighted several movement directors whose work shaped this season’s most impactful shows, naming Leanne Pinder ("Punch"), Sarah Golding ("Kenrex"), Imogen Knight ("Dead Man Walking"), Jenny Ogilvie ("Into the Woods"), Sung Im Her ("The Glass Menagerie"), Lucy Hind ("Inter Alia") and Kloé Dean ("The Boy at the Back of the Class").Movement direction, the network explains, is not always dance but is essential to a production’s physical language, characterisation and dramatic flow. "If we celebrate the impact of physical storytelling, we must also evolve how we acknowledge the artists behind it," CMDN said.The network praised the Black British Theatre Awards for expanding their choreography category in 2022 to include movement direction, but noted that the UK Theatre Awards and Critics’ Circle Awards still lack dedicated categories for either choreography or movement direction.Founded in 2023 by movement director and choreographer Polly Bennett, CMDN now counts over 200 members. In a 2025 interview, steering‑group member Ellen Kane asked, "Why aren’t there Oscars or BAFTAs for choreography? Why aren’t we being credited?"Last month, more than a hundred theatre professionals signed a petition urging the Olivier Awards to create a separate video‑design category, arguing that the current system lumps video designers with other disciplines. This year’s Olivier winners illustrate the overlap: Tom Pye (set) and Ash J Woodward (video) shared the best set‑design award for "Paddington: The Musical", while Aideen Malone (lighting) and Roland Horvath (video) shared best lighting‑design for "Into the Woods".

Peru's general election has entered its third day without a clear outcome, leaving voters increasingly frustrated and skeptical about the legitimacy of the results. The closely watched presidential race has seen leftist candidate Roberto Sanchez move into second place as the vote count continues.The delayed results have fueled concerns about the country's ability to conduct a free and fair election. Keiko Fujimori is leading with 17 percent of the vote, but the second spot remains undecided, with Sanchez holding 12.04 percent and Rafael Lopez Aliaga close behind with 11.9 percent.The confusion over the voting process and its results has spiked public skepticism, with many voters expressing frustration and disappointment. Candidates, including Lopez Aliaga, have suggested that they will not accept the results as legitimate, citing concerns about electoral fraud.Observers have cautioned against unsubstantiated claims of fraud, stating that there is no firm evidence of foul play. However, the European Union Election Observation Mission to Peru has noted that there have been serious problems with the electoral process.The delayed results have also highlighted growing rates of disillusionment among Peruvians about the state of the country's democracy. A recent poll found that about 84 percent of respondents were unsatisfied or very unsatisfied with how democracy was functioning in Peru.The country's political instability has been a major concern, with Peru shifting through nine presidents in just 10 years. The situation has been further complicated by rising concern about issues such as crime and corruption, which have been cited as major concerns by voters.

Next chief executive Simon Wolfson received a record pay package of £7.4m last year, up from £4.9m the previous year. His remuneration includes a basic salary of £967,000, a maximum annual bonus of £1.45m, and a long-term bonus of £4.7m. The pay increase comes as Next aims to align Wolfson's remuneration with industry standards, citing that his previous pay was 30% below the average for FTSE 100 bosses. The company's remuneration committee stated that the changes were necessary to retain and motivate its high-quality management team. Wolfson's pay package for this year could reach up to £9.27m, with his basic annual salary increasing by 3% to £1m, his maximum annual bonus rising to 200% of salary from 150%, and his long-term bonus potential increasing to 400% of salary from 225%. The changes are part of Next's efforts to ensure that its executive compensation is competitive and aligned with performance. The company's decision to increase Wolfson's pay comes on the back of Next's improved financial performance, with the retailer upping its profit guidance to £1.2bn for the year to January 2027 after better-than-expected sales in January.

New Jersey Governor Mikie Sherrill publicly challenged FIFA after reports surfaced that round‑trip train tickets from New York’s Penn Station to MetLife Stadium could exceed $100 for the 2026 World Cup. Current NJ Transit listings show a standard fare of $12.90 for the same route, but a recent The Athletic report suggests the price could jump dramatically, with no discounts for children, seniors or people with disabilities. NJ Transit told Fox 5 New York that the final fare has not yet been set, but a decision is expected within days. In a social‑media post, Governor Sherrill emphasized that the state inherited an agreement in which FIFA contributes $0 toward transportation, leaving New Jersey Transit with a projected $48 million bill to safely move an estimated 40,000 fans to each of the eight matches, including the final. "FIFA is making $11 billion off this World Cup and charging fans up to $10,000 for a single ticket for the final," Sherrill said. "I won’t let New Jersey commuters shoulder that cost. FIFA should pay for the rides, and if they don’t, I won’t let our residents be taken for a ride." Sherrill added that she would approve any fare increase if FIFA does not intervene, stating, "I will, if that’s what it takes, because I’m not putting it on the backs of New Jerseyans." On Wednesday, NJ Transit’s board unanimously passed a resolution empowering CEO Kris Kolluri to set World Cup rail fares at levels sufficient to "cover any and all costs" associated with transporting the projected fan volume. Kolluri confirmed that the fare structure will not be cross‑subsidized by regular commuters. New York City Mayor Zohran Mamdani backed Sherrill’s stance, noting that FIFA often offloads costs onto local municipalities and suggesting that a partnership could make the event more affordable for everyone. FIFA responded by highlighting the original 2018 Host City Agreements, which required free transportation for fans, and noting a 2023 amendment that shifted to a "cost‑to‑use" model. The organization also claimed it had advocated for federal funding to support host‑city mobility plans. Sherrill, a Democrat elected last year on a platform of affordability, has already redirected $5 million earmarked for a fan festival at Liberty State Park toward smaller watch parties across the state. Transportation pricing for this World Cup has become a broader discussion, with Massachusetts raising its Boston‑to‑Foxborough fare from $20 to $80, underscoring growing concerns over fan‑accessibility and cost burdens.

The creation of the soundtrack for the film 'Mother Mary' was a collaborative effort between director David Lowery, actress Anne Hathaway, musician FKA twigs, and producers Charli xcx and Jack Antonoff. The film, which explores the story of a fictional pop star, required a soundtrack that captured the essence of 21st-century pop music.Lowery spent time studying the music of the last 25 years, including artists like Taylor Swift, Lorde, and FKA twigs, who appears in the film as a medium named Imogene. As the film's story emerged, Lowery's musical influences shifted towards artists like James Blake and Aldous Harding, who better captured the emotional tone of the film.Anne Hathaway, who plays Mother Mary, had a background in theater and had won an Oscar for her performance in the musical Les Misérables. However, the recording process for 'Mother Mary: Greatest Hits' was a new experience for her. She spent time with Jack Antonoff to record the soundtrack, exploring her vocal range and learning about production. She even changed minor lyrics to better fit her character.FKA twigs contributed to the soundtrack with her song 'My Mouth Is Lonely for You', which was not included in the final film but showcased her ability to create shimmeringly erotic and captivating music. Her other contribution, an ethereal song, was used in a scene featuring the dress Mother Mary requires from her former friend and designer, Sam.The soundtrack, 'Mother Mary: Greatest Hits', paints a uniform portrait of a 21st-century pop star with a cult-like following and avant-garde fashion sense. The music and performance footage have been acclaimed, with Hathaway and twigs delivering standout performances.Hathaway describes Mother Mary as a pop star who embodies a type of stardom that is neat, perfect, and huge, with a mass appeal that is slightly glossier than what twigs and xcx have experienced. The film implies that Mother Mary's fandom is attracted to her ecstasy and vulnerability, with fans feeling safe around her and seeking a motherly figure.

A New York jury has ruled against Ticketmaster and Live Nation, finding that the concert giant and its subsidiary had a harmful monopoly over big concert venues. The verdict is a significant loss for the companies, which were sued by dozens of states in the US over claims of anticompetitive practices.The jury deliberated for four days before reaching its decision, which could cost Live Nation and Ticketmaster hundreds of millions of dollars. The companies were found to have overcharged consumers in 22 states by $1.72 per ticket. The verdict also opens the door for potential penalties and sanctions, including court orders to divest some entities, such as venues.The civil case, initially led by the US federal government, accused Live Nation of using its reach to smother competition by blocking venues from using multiple ticket sellers. The company's lawyers argued that it is not a monopoly, saying that artists, sports teams, and venues decide prices and ticketing practices.Live Nation Entertainment owns, operates, controls booking for, or has an equity interest in hundreds of venues. Its subsidiary Ticketmaster is widely considered to be the world's largest ticket-seller for live events, controlling 86 percent of the market for concerts and 73 percent of the overall market when sporting events are included.The verdict marks a significant victory for fans and some artists who have long complained about Ticketmaster's high fees and limited competition. The company has faced criticism from artists such as Pearl Jam, which battled the business in the 1990s and filed an antimonopoly complaint with the US Department of Justice.

Argentina’s justice system has reopened the case surrounding the death of football icon Diego Maradona, with prosecutors branding his medical team as “a bunch of amateurs” who missed a critical window to save him.The trial of seven healthcare professionals—doctors, psychologists and nurses—resumed on Tuesday in San Isidro, a suburb of Buenos Aires, after the original proceedings were annulled when a presiding judge was found to have participated in a documentary about the case.Maradona, who died in November 2020 at age 60 while recuperating from surgery for a brain clot, is alleged to have suffered from heart failure and acute pulmonary edema two weeks post‑operation. Prosecutor Patricio Ferrari asserted that the patient began to deteriorate 12 hours before his official death and that a timely transfer to a clinic could have prevented the fatal outcome.According to the indictment, the defendants’ decision to keep Maradona at home rather than in a hospital, coupled with a series of “omissions” described as “cruel,” constitutes homicide with possible intent. If convicted, each could face prison terms ranging from eight to 25 years.The new proceedings, expected to conclude by July at the earliest, will hear testimony from roughly 120 witnesses. Among the accused, former team doctor Leopoldo Luque and other staff members will be scrutinized for their role in the athlete’s care.Maradona’s family—daughters Dalma, Gianinna and Jana, and former partner Veronica Ojeda—attended the hearing, urging the courts to deliver “justice for Diego” and allow the legend to “rest in peace.” Outside, about 50 supporters waved Argentine flags and signs demanding accountability for the beloved “D10s.”Defense counsel Vadim Mischanchuk argued that the former star’s death resulted from a “progressive decline in his health” rather than medical malpractice, emphasizing that the condition was natural and unavoidable.Legal analyst Fernando Burlando, representing the Maradona family, highlighted the absence of a stethoscope on the legend’s chest during the critical two‑week period, using the instrument as a stark symbol of alleged negligence.The case revives national grief that first erupted when Maradona’s body lay in state at the presidential palace, drawing tens of thousands of mourners amid the COVID‑19 pandemic.

A new trial has begun in Argentina over the death of football legend Diego Maradona. The trial aims to determine if medical professionals and others are responsible for his death in 2020.Maradona, widely regarded as one of the greatest footballers of all time, died at the age of 60 from a heart attack at his home in Buenos Aires. His family has long claimed that he received inadequate medical care leading up to his death.The trial is expected to hear testimony from medical professionals, family members, and other witnesses. Maradona's family is seeking justice and accountability for his death, which they believe was preventable.The case has sparked widespread interest in Argentina and among football fans worldwide, with many calling for greater accountability in the medical care provided to Maradona in his final days.