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In the spring of 1926, Paris was bustling with tourists, earning its reputation as the cheapest capital in Europe. The city's ideal weather, with incessant sunshine, added to its appeal. Cafes had opened their windows, trees were green, and chestnuts were budding, creating a picturesque scene.The tourist influx was significant, with 20,000 English holidaymakers arriving in a single day, and many more expected to follow. Visitors from other countries, particularly Germany, were also well-represented. This Easter season was shaping up to be a record one for Paris.While finding accommodations could be challenging for those who hadn't booked in advance, Paris offered affordable options for tourists. Restaurants, theatres, music-halls, and other amusements were priced at about half of what one would find in London. Even taxi fares, which doubled at night, were reasonable at threepence a mile.The city's entertainment scene catered to various tastes. Some tourists flocked to popular venues like the Folies-Bergère, Moulin Rouge, and Casino de Paris, while others preferred more cultural experiences at the Comédie Française or Odeon. The diversity of options made Paris an attractive destination for a wide range of visitors.

The latest production of Romeo and Juliet brings a modern twist to Shakespeare's timeless tale, with Sadie Sink and Noah Jupe stepping into the iconic roles of Juliet and Romeo, respectively. This adaptation, directed by Robert Icke, presents a hipsterishly modern-dress interpretation that sometimes feels overburdened by its directorial flourishes. Sink, known for her role as Max Mayfield in Stranger Things, makes her West End debut as Juliet, bringing an intense and quirky neurotic energy to the character. Her performance is complemented by Jupe's portrayal of Romeo, showcasing a sweet and pure chemistry that captures the essence of first love. Their on-stage presence is undeniable, making their characters' tragic fate all the more poignant. The production features a range of inventive elements, including a digital clock that ticks down the hours leading to the tragic conclusion and alternative scenes that explore a universe where the couple's fate is averted. While these choices are ambitious, they sometimes feel like overthinking. Nonetheless, the central performances by Sink and Jupe anchor the production, elevating it above its directorial excesses. Supporting performances, including Clare Perkins as the cocky and endearing Nurse and Kasper Hilton-Hille as the mischievous Mercutio, add depth and humor to the production. The stage design, featuring a central bed and minimalist set, effectively underscores the themes of passion and tragedy. Despite some missteps, the production ultimately succeeds due to the compelling performances of its leads. With its blend of traditional and modern elements, this Romeo and Juliet offers a fresh perspective on a classic tale, making it a must-see for both Shakespeare enthusiasts and newcomers alike.

The arrival of drier March days brings with it the familiar hum of lawn mowers on urban housing estates, but for the author, it's a signal to search for the first signs of their beloved spring flower: the dandelion. Spotting one blooming in a crack beside a crumbling wall, the author can't help but feel a sense of joy and connection to this often-maligned weed. The dandelion's unique charm lies in its ability to thrive in unexpected places, much like the author, who identifies as a wheelchair user, feels a kinship with the flower's resilient nature. This connection is shared with toddlers who delight in carrying dandelions in their fists, and the author jokingly suggests that dandelions would make a perfect bridal bouquet. Dandelions are pure sunshine, offering an instant tonic for grey days or low moods. They provide a vital source of nutrition for pollinators when other pollen is scarce, acting as a bridge until other spring flowers bloom. The flowers, roots, and leaves are also a remarkably nutritious food source, boasting more vitamin A than spinach and more vitamin C than tomatoes. The dandelion's thick roots, rich in latex, are being explored as a sustainable and eco-friendly source of rubber for car and bicycle tires. Additionally, the flower's behavior serves as a rudimentary weather forecast, closing its petals tight when rain is approaching to protect its pollen. As the dandelion's flowering cycle comes to an end, it offers a final gift: turning into bright, white moons. Blowing on these seed heads not only helps spread the seeds but also feels like an appropriate thank you for all that the dandelion provides.

Johannes Radebe, also known as Jojo from Strictly, is a natural performer who shines brightly as Lola in the musical Kinky Boots. His stage presence is magnetic, and his dancing is mesmerizing. Radebe's portrayal of the drag queen Lola is captivating, with impressive entrances and a strong performance.The musical, based on the 2005 film, tells the story of a Northampton shoe factory that switches to making boots for drag queens. The show features a riot of colors and sparkle, with impressive costumes designed by Robert Jones and Tom Rogers. The story follows Charlie Price, who returns to his hometown to take over the family business and, along with Lola and her friends, devises a plan to save the factory.Radebe's performance is supported by a talented cast, including Courtney Bowman as Lauren and Scott Paige as George. While Radebe's singing voice may not be as strong as his dancing, he brings a unique energy to the role. The show's direction by Nikolai Foster ensures that the cast delivers the right tone, but the musical may lack depth in its storytelling.Overall, Kinky Boots offers an enjoyable night out, with a blend of music, dance, and comedy. The show runs at the London Coliseum until July 11.

Jannik Sinner reflected on his latest triumph at the Miami Open with a modest chuckle, insisting that tennis remains an individual sport. His decisive win over Jiri Lehecka not only secured the Sunshine Double—following his Indian Wells victory—but also extended a remarkable record: every tournament featuring both Sinner and Carlos Alcaraz since April 2024 has been won by one of the two. Sinner’s achievement marks his third consecutive Masters 1000 title and an astonishing 34 straight sets won at this level, underscoring his dominance over all challengers aside from his chief rival. After early‑season setbacks—losses to Novak Djokovic at the Australian Open and to Jakub Mensik in Qatar—Sinner and his team relocated to California for an intensive training block in scorching conditions, a strategy that paid dividends throughout March. “There is no secret behind it, just hard work,” Sinner said, noting his extended stay outside Europe and his eagerness to return home. Despite his focus on individual preparation, the broader narrative remains: the gap between Sinner, Alcaraz and the rest of the field continues to widen, with the two duopoly rarely challenged. On the women’s side, Aryna Sabalenka mirrored Sinner’s feat by completing her own Sunshine Double, albeit under markedly different circumstances. She entered the season having won 23 of her first 24 matches, and at Indian Wells she survived a match‑point against Elena Rybakina before edging Coco Gauff in a tense Miami final. Sabalenka’s recent evolution is evident both technically and mentally. After a series of high‑profile collapses in decisive moments—most notably at the Australian Open and the French Open—she adopted a self‑affirmation routine, repeatedly reminding herself of her strength. “Whenever I felt like doubting my ability, I was bringing myself back and reminding myself, ‘No, no, no, you’re strong enough,’” she explained. Her résumé now includes four Grand Slam titles, 11 WTA 1000 titles, and a cumulative 84 weeks at world No. 1. Financially, Sabalenka is on track to become the second female athlete ever to earn $50 million in prize money in a single year, trailing only Serena Williams. The Miami Open itself remains a paradox. While it draws a vibrant, international crowd—especially from Latin America—and offers a unique atmosphere, its temporary venue at Hard Rock Stadium is widely criticized as the tour’s least favorable setting, with sightlines compromised by the stadium’s layout. The tournament’s prestige has also been challenged by the rise of Indian Wells and the recent shift toward mixed‑gender two‑week events. As the tour transitions to the European clay season, the performances of Sinner and Sabalenka raise pivotal questions about the future hierarchy of tennis and the evolving relevance of historic events like Miami in a rapidly changing landscape.

The Japanese action-comedy film 'Ghost Killer' presents a unique blend of supernatural elements and high-octane action. Akari Takaishi stars as Fumika, a college student and part-time waitress who, after picking up a bullet casing, becomes connected to the ghost of Kudo, a recently murdered hired assassin.Kudo's ghost inhabits Fumika's body, allowing him to use her as a karate-chopping, gun-slinging martial arts vessel to right wrongs and avenge his own murder. This setup enables the film to deliver thrilling action sequences, showcasing fisticuffs and fancy fight choreography.Director Kensuke Sonomura, who previously worked on the successful 'Baby Assassins' franchise, brings his expertise in action direction to the film. Takaishi, who collaborated with Sonomura on 'Baby Assassins,' demonstrates her charisma and impressive range as Fumika, convincingly portraying both her vulnerability and deadly efficiency when possessed by Kudo.The film's script, written by Yugo Sakamoto, balances action with meaningful themes, including women's rights and the fight against male aggression. Notably, Fumika's character is presented in a practical and empowering way, often wearing tracksuit trousers, a puffer coat, and a knitted beanie, avoiding objectification.'Ghost Killer' is set to release on digital platforms from April 6, offering a fresh take on the action-comedy genre with its blend of supernatural intrigue and martial arts excitement.

Alim Beisembayev, the Kazakh-born winner of the 2021 Leeds International Piano Competition, presented a compelling piano recital that traversed the Romantic era, from Schubert to Liszt. His performance was marked by intimacy and conviction, bringing to life the passionate surge of Romanticism over three decades.Beisembayev's approach to Schubert's Moments Musicaux, D780 was characterized by calmness and understatement, effectively highlighting the vast contrast with the Liszt that followed. He skillfully utilized the fine acoustic of the Dora Stoutzker hall to create an intimate atmosphere, where Schubert's characteristic slipping between major and minor modes was quietly evocative.In his rendition of Chopin's Fantaisie, Op49, Beisembayev demonstrated a strong affinity with the composer, shaping long arching melodies and capturing their particular melancholy. His keyboard manner was both composed and contained, yet fired volleys of notes with fierce conviction. This approach seemed to embody Schumann's observation that Chopin's works were 'cannon buried in flowers.'The program's coherence was further underscored by the key of F minor, which also pointed to the interval of a diminished 5th, perceived as the Diabolus in Musica in Liszt's Sonata in B minor. Beisembayev's precise management of Liszt's transitions from apocalyptic turmoil to serene melody spinning, punctuated by moments of silence, showcased his technical assurance and deeper interpretative insights.The recital concluded with a Debussy encore that seamlessly transitioned into the 20th century, offering liquid balm beautifully delivered.

The Royal Liverpool Philharmonic, led by conductor Daniela Candillari, presented a unique concert experience that juxtaposed the serene with the apocalyptic. The program began with Elgar's Serenade for Strings, a piece that epitomizes Victorian salon music. The performance was gentle and dainty, with a lovely translucent quality to the Allegretto.The highlight of the evening was undoubtedly Mark Simpson's oratorio, 'The Immortal', inspired by Victorian occultism. This 2015 work invites the audience to a seance, featuring texts from mediums of the time and the words of Frederic Myers, founder of the Society for Psychical Research. The piece was characterized by its impossibly dense, deliberately impenetrable textures and apocalyptic soundscapes, complete with amplified howls and shrieks from the vocalists of Exaudi and solo baritone Rory Musgrave.In contrast, the performance of Sibelius's Second Symphony was smooth and polished, but lacked real tension and buildup. The symphony's ominous timpani rumble and scherzo were played with speed, but without the intensity one might expect. Overall, the concert promised life and death but ultimately left the audience hovering in between.

Aryna Sabalenka has successfully defended her Miami Open title, overcoming Coco Gauff in a thrilling final with a score of 6-2, 4-6, 6-3. This triumph marks Sabalenka's second consecutive Miami Open victory and her entry into an exclusive club of players who have achieved the coveted 'Sunshine Double', winning both the Indian Wells and Miami titles in the same year.Sabalenka, the top seed, dominated the match by winning 73 percent of her first-serve points and limiting Gauff to just two break points. This victory also avenged Sabalenka's loss to Gauff in the 2025 French Open final.By completing the 'Sunshine Double', Sabalenka joins an elite group of players, including Iga Swiatek (2022), Victoria Azarenka (2016), Kim Clijsters (2005), and Steffi Graf (1994, 1996). She is also the first player to win back-to-back Miami titles since Ash Barty in 2019 and 2021, with the 2020 edition being cancelled due to the COVID-19 pandemic.Sabalenka's victory brings her record against Gauff to 7-6 in their head-to-head matches. In her post-match remarks, Sabalenka praised Gauff, saying, 'You're a fighter, and you also push me so hard to be a better player, and I like our rivalry.'Gauff, who is from nearby Delray Beach and was playing in her first Miami final, put up a strong fight but ultimately fell short. She acknowledged Sabalenka's skills, stating, 'Aryna, congratulations. We've had many battles, many finals and, yeah, I think you push me to be a better player.'