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The Unicorn Theatre's production of 'A Midsummer Night's Dream' is a playful and punchy adaptation of Shakespeare's romantic comedy, made accessible to a young audience. Co-directors Rachel Bagshaw and Robin Belfield have trimmed down the original language while incorporating slapstick comedy and playful captions.The production feels like the start of a brilliant venture, still finding its feet. The editing is smart, but could have been more radical. The framing story in Athens has been cut down but not excised, making it harder to understand.The magical elements are kept low-key and gently engaging, with Titania's fairies conjured up using childlike voiceovers, Holly Khan's delicate soundscape, and Will Monks' entrancing word projections. Joséphine-Fransilja Brookman's Puck is an impish schoolkid who climbs up balconies, jumps on tyre swings, and causes mischief.The standout star is Emmy Stonelake as Bottom, a natural comic and talented Shakespearean who raises big laughs without compromising the language. When Bottom is turned into a donkey, Stonelake cries out: “This is to make an ass of me!” and is met with big laughs and heavy sighs.The most lucid and enjoyable scenes are those with the rude mechanicals as they rehearse their (terrible) play. There's a whiff of the CBeebies panto to these encounters, with the actors dressed in neon costumes and delivering their gags with gusto. The hard-working ensemble jump from playing heartsick lovers to hammy actors with real aplomb.At the Unicorn theatre, London, until 10 May.

Marine archaeologists from Denmark’s Viking Ship Museum announced the discovery of the Dannebroge, the Danish flagship that was destroyed by Admiral Horatio Nelson during the Battle of Copenhagen in 1801. The wreck lies 15 metres (49 feet) below the surface of Copenhagen harbour, buried in thick silt that offers almost zero visibility.Divers working in the murky conditions described the operation as a “race against time” because the site will soon be covered by Lynetteholm, a massive housing development slated for completion by 2070. The excavation, which began late last year, targets the exact spot where historical records place the Dannebroge’s final moments.Among the artefacts recovered are two cannons, period uniforms, insignia, shoes, bottles, and a fragment of a sailor’s lower jaw – possibly belonging to one of the 19 crew members still unaccounted for. “When a cannonball hits a ship, the splinters are the real danger, like grenade debris,” explained marine archaeologist Morten Johansen, underscoring the brutal conditions aboard wooden warships.The 48‑metre (157‑foot) vessel was Nelson’s primary target. Intense cannon fire ripped through its upper deck, and incendiary shells ignited a devastating fire that eventually caused the ship to explode, producing a roar heard across Copenhagen.Experts confirmed the wreck’s identity through dendrochronological dating, which matched the wood’s tree‑ring pattern to the year the Dannebroge was built. The size and shape of the recovered timbers also correspond with contemporary ship plans.Historical context: the 1801 battle was part of Britain’s effort to force Denmark out of a northern alliance with Russia, Prussia and Sweden. After a fierce exchange, Nelson offered a truce, and a cease‑fire was negotiated with Denmark’s Crown Prince Frederik.Marine archaeologist Marie Jonsson described the challenging dive conditions: “Sometimes you can’t see anything; you have to feel your way and rely on your fingers rather than your eyes.” The site remains littered with cannonballs, posing additional hazards for divers navigating the silt‑filled waters.The find not only enriches Denmark’s national narrative—often depicted in paintings and literature—but also provides a rare, tangible link to a pivotal moment in European naval history, just as modern development threatens to erase the physical remnants of that past.

The usual visual language of hospital dramas relies on sterile whites and bright fluorescents. ‘What I’m Here For’ discards that palette entirely, immersing the audience in a world of black costumes and shadow‑filled set pieces.This daring aesthetic is the result of a collaboration between Vanishing Point of Glasgow and Teater Katapult from Aarhus, Denmark. Designer Mai Katsume outfits nurses, doctors and patients in deep black, arranging them in stark rows that dominate an ominously dark stage.At the centre stands Lærke Schjærff Engelbrecht as Flora, a nurse forced onto an extra weekend shift because of chronic short‑staffing. Even the flickering strip lights beneath her feet are cloaked in darkness, a visual choice amplified by Simon Wilkinson’s austere lighting design that drains the scene of any residual warmth, turning a hectic night ward into a gothic horror tableau.Written by Josephine Eusebius and performed in a blend of Danish and English, the script follows a familiar premise—too many patients, too few staff—but pushes it to a psychological extreme. Flora cheerfully repeats the hospital‑as‑hotel mantra while confronting impossible choices, such as whether to prioritize a pleasant woman with a brain tumour in room 22 or a demanding lady with a heart condition in room 33.The tension is heightened by Mark Melville’s pulse‑driven soundtrack, a low‑frequency thrum that underscores Flora’s isolation. As in many of director Matthew Lenton’s productions, the protagonist is both integral to and alienated from the medical team, a duality made palpable by her physical separation from the other actors and their disembodied commentary.Throughout the performance, Flora remains downstage, engaging in dream‑like exchanges with colleagues whose looming presence becomes as oppressive as the life‑and‑death decisions she must make. The staging forces the audience to feel the weight of each moral dilemma, turning routine triage into an almost tactile nightmare.‘What I’m Here For’ runs at the Tron in Glasgow until 4 April and will tour to other venues until 18 April.

In the northeastern Indian state of Assam, the redrawing of electoral constituency boundaries has sparked concerns about the erosion of Muslim representation in the state's legislative assembly. The move, which was implemented in 2023, has been criticized as an example of 'gerrymandering' – the manipulation of electoral boundaries to favor a dominant group or party.The changes have resulted in Muslims forming the majority in about 20 of the state's 126 constituencies, down from around 35 previously. This shift is seen as a significant blow to the political representation of Assam's 11 million Muslims, who make up more than 34% of the state's population.Critics argue that the BJP's Hindu majoritarian policies are being implemented in Assam, which could serve as a template for the rest of India. The party has been accused of using techniques such as 'cracking,' 'packing,' and 'stacking' to weaken the electoral influence of Muslims.The delimitation exercise has been defended by the BJP as a means of protecting the political rights of 'indigenous people,' a reference to Assamese-speaking individuals. However, opponents claim that the move is a thinly veiled attempt to reduce the political power of Bengali-speaking Muslims in the state.For many Muslims in Assam, the changes have left them feeling politically emasculated. As Islam Uddin, a retired teacher from Katigorah, put it, 'We have been politically emasculated.' Another Muslim voter, Nabab Mezbahul Alam, described the situation as being like having 'hands, feet, and head to move and see, but [being] muted.'

The recent developments in the conflict between the US and Iran have left global markets reeling. President Donald Trump's threat to attack Iran's civilian power infrastructure led to a surge in oil prices, a plummet in stock futures, and a climb in bond yields. However, the president quickly walked back his statement, announcing that talks with Iran were going well. This move, dubbed 'Taco' (Trump Always Chickens Out), was first seen during the tariffs crisis last year. The immediate market reaction was significant, with bonds and stocks recovering rapidly after Trump's statement. The S&P; 500 stock index jumped 1.5% by 9:30 am in New York, defying earlier futures contracts that signaled a 1% daily decline. However, Iran's response has shown that Trump's tactic may be losing steam. Iranian officials denied the 'productive conversations' Trump claimed had taken place, and launched missile attacks on Israel, Iraq, and other American allies in the Gulf. This has led to renewed market volatility, with oil prices rebounding and stocks giving up their gains. The article suggests that Trump no longer has control of events in Iran and that the conflict's outcome will likely be decided by Tehran. The Iranian regime has little incentive to back down, having already suffered significant losses but still capable of imposing enormous costs on the world by throttling the Strait of Hormuz and depriving the global economy of 12.5 million barrels of oil and 11.5 billion cubic feet of gas per day. As markets continue to react to the situation, it appears that Trump's 'Persian Tacos' may not be enough to calm investor nerves. The S&P; index lost 1.78% on Thursday, closing at a new low for the year, and the price of Brent crude hovered around $108.

Rob Petit's documentary Underland, inspired by Robert Macfarlane's bestselling book, delves into the mysterious world beneath the Earth's surface. The film features Mexican archaeologist Fátima Tec Pool exploring cenotes on the Yucatan peninsula, theoretical physicist Mariangela Lisanti studying dark matter in an ultra-clean facility in Canada, and urban explorer Bradley Garrett navigating storm-drain tunnels in Las Vegas.The documentary intertwines these experiences with Sandra Hüller reading poetic prose about the 'nether' in a faintly Americanised accent. While the film raises intriguing ideas, it sometimes struggles to reconcile natural underground spaces with human-made ones. The most striking scenes showcase Lisanti's work searching for dark matter, highlighting the vastness of deep time and the potentially fruitless pursuit of scientific discovery.The film is set to release in UK and Irish cinemas on 27 March, offering viewers a chance to explore the hidden world beneath their feet.

The world of ballet has long been associated with a specific physical ideal, particularly when it comes to foot shape. However, dancers with flat feet are proving that this condition is not a barrier to success. For Claudia Efemini, picking up her ballet shoes again after six years was a bittersweet experience. While she was excited to revisit a childhood hobby, she was also disheartened by the memory of being discouraged from pursuing ballet due to her flat feet.The industry's obsession with 'perfect' feet, characterized by high arches, has led some dancers to use fake arches, or farches, to create the illusion of more flexible feet. However, flat-footed dancers like Alex Maureen and Ruth Essel are thriving in the ballet world. Maureen, a performer and dance instructor at New York University, and Essel, founder of Pointe Black, a London-based ballet school, reject the notion that flat feet are an obstacle to success.Research shows that Black people are more prone to having flat feet, but Essel and Maureen's experiences demonstrate that this condition does not predetermine one's potential in ballet. Through education and self-advocacy, they have overcome discouraging beliefs about their feet and developed strategies to work with their body types. Essel, with a background in psychology, learned about anatomy and exercises to strengthen her ankles and improve foot mobility.Injury prevention is crucial for flat-footed dancers, who tend to land on their heels. Maureen and Essel stress the importance of educators adapting to different body types and seeking specialist advice when needed. They also highlight the need for greater diversity in ballet, including more Black pointe shoe fitters and physiotherapists.Maureen and Essel have developed checklists for their students before they start using pointe shoes, ensuring a comfortable and supportive fit. As Maureen advises, 'You just need your shoe to work for you, not against you.' For aspiring ballerinas with flat feet, Maureen's words of encouragement are 'Give yourself grace. Be kind to yourself.'