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As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

The UK's ambition in quantum computing is being backed by sustained investment in people and fundamental science, with a focus on building a strong foundation for the sector. UK Research and Innovation (UKRI) has been instrumental in supporting hundreds of academics and building the infrastructure needed for the industry to thrive.In the last 10 years, UKRI's councils have made significant investments in physics research, including support for 100 PhDs in quantum technology launched in 2024, quantum computing industrial doctorate awards, and funding 14 early-career fellows in the last 18 months.The investment is paying off, with the quantum sector showing promising growth and potential to create 100,000 jobs in the next 20 years. The government has signalled its recognition of the opportunities in quantum computing with a further £1bn procurement programme, making the UK one of the most exciting and well-supported places in the world for quantum computing researchers, companies, and students.Prof Charlotte Deane, UK Research and Innovation, highlights that the UK's advantageous position in quantum has emerged through sustained long-term public investment into fundamental physics research projects, and the best people, infrastructure, and partnerships.