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The Stage is Set for a New Sherlock Holmes Outdoor drama is a pleasure complicated by the plot twists of the season. A day of almost hourly showers left the evening air so ominously moist for Sherlock Holmes that the detective could reasonably have announced: “The rain’s afoot.” A deluge held off but gave way to such coldness that the smoke and dry ice in the production competed with the actors’ breath clouds. Blending Classic and Contemporary Elements Billed as “a new mystery”, the script by Joel Horwood is a sort of bridge between Conan Doyle’s A Study in Scarlet (1887) and The Sign of the Four (1890). The conceit is that we are seeing the “real” events that Dr Watson, frantically transcribing most of the play’s dialogue into a notebook, later published as the second Sherlock Holmes book. A New Perspective on Watson's Narrative But while he faithfully recorded some of the case – including jewels from an Indian Mughal treasure box sent annually to Miss Mary Morstan in London – we see that he falsified elements including the true persona of Holmes. Watson also left out – or Horwood has included – a subplot about stolen government military secrets that did not reach the Sherlock canon until the 1908 short story The Adventure of the Bruce-Partington Plans. Bringing the Characters to Life Joshua James’s perky, petulant Sherlock has some of the canonical props, including pipe and drug apparatus, but passionately embraces theories about the detective’s sexuality and neurodiversity with which earlier performers have only flirted. As Horwood foregrounds Holmes’s deductive outbursts – “That mud on your shoe is only found at the courthouse!” – there are torrents of ratiocination that James delivers with admirable clarity. Jyuddah Jaymes engagingly seizes the opportunities given by a Watson whose agency and braininess have been expanded from his Conan Doyle role of out-thought secretary. A Successful Revival Great characters out of copyright often suffer clumsy slander but, for all the eccentricities such as Sherlock Holmes and the Alien Abduction, the deductive genius has largely been lucky. Like Humphrey Ker and David Reed’s Sherlock Holmes and the 12 Days of Christmas last year at Birmingham Rep, Horwood’s version succeeds in simultaneously teasing and taking seriously the original. At Regent’s Park Open Air theatre, London, until 6 June

Julien Jarjoura's Plan to Relaunch Claire’s on UK High StreetsThe jewellery and accessories chain Claire’s is set to return to the United Kingdom with roughly 50 new stores opening from June. The initiative is led by French entrepreneur Julien Jarjoura, founder of Une Ligne, which already operates Claire’s outlets in France, Austria, Portugal and Spain. Jarjoura secured permission from the US brand owner Ames Watson and is currently signing fresh leases with UK landlords. Scale of the Relaunch: Store Count, Pricing and InvestmentTarget rollout: 4‑10 stores per week starting June.Current European footprint: ~240 Claire’s stores across the continent.UK legacy assets: 356 concessions previously operating in the country.Pricing strategy: items from £1.90 up to £100+, moving away from heavy discounting.Financial approach: the UK operation will be debt‑free, funded personally by Jarjoura, with profitability expected in 3‑5 years. Implications for UK Retail Landscape and EmploymentThe revival follows the closure of Claire’s final UK stores, which eliminated more than 1,000 jobs and ended three decades of presence on British high streets. Jarjoura intends to retain some of the existing 356 concessions and has hired former UK executives, but he will not acquire the Birmingham head office or purchase old stock from administrators Kroll. By positioning the brand as a “fair‑price” retailer rather than a discount outlet, the plan aims to restore consumer confidence while navigating UK challenges such as business rates and employment costs. Outlook: How Claire’s Might Reclaim Its Market PositionIf the rollout proceeds as scheduled, Claire’s could re‑establish itself as a staple for teenagers and tweens, a segment it historically dominated since its UK entry in 1996. Success will depend on delivering a refreshed product mix, maintaining consistent ear‑piercing services, and gradually rebuilding brand perception after years of discount‑driven sales. Analysts suggest that a steady, well‑funded expansion—despite a longer break‑even horizon—could set a template for other legacy retailers seeking a comeback in a competitive high‑street environment.

Furyk Returns as U.S. Ryder Cup Captain for 2027 The PGA of America announced on Friday, 25 April 2026 that Jim Furyk will lead the United States team at the 2027 Ryder Cup in Ireland. The decision comes after Tiger Woods removed himself from consideration following a March 27 DUI arrest in Florida. Historical Captaincy Stats and Recent Ryder Cup Results Furyk previously captained the U.S. in Paris 2018, a 17½‑10½ loss to Europe. Only four U.S. captains have served twice since the modern era began in 1979: Davis Love III, Tom Watson, Jack Nicklaus, and now Furyk. Europe have won 11 of the last 15 Ryder Cups, with the last U.S. road victory in 1993. U.S. captain’s picks in 2026 performed poorly: Tiger Woods (0‑4), Phil Mickelson (0‑2), Bryson DeChambeau (0‑3). Implications for U.S. Team Strategy and European Dominance Veteran vice‑president Nathan Charnes highlighted Furyk’s three‑decade presence in the U.S. team room as a stabilising factor. With Europe’s record seven‑point lead after two days at Bethpage Black in 2026, the U.S. faces a strategic overhaul: Emphasis on pairing chemistry, avoiding the 2‑10‑0 captain’s‑pick record that hurt the 2018 squad. Potential reshuffle of the assistant captain role, building on Furyk’s successful stint as Keegan Bradley's aide in the previous Ryder Cup. Focus on player health and discipline after Woods’ off‑course issues. Outlook for the 2027 Ryder Cup in Ireland Furyk’s statement underscores a “tremendous honor” and a commitment to “put our players in the best position to succeed.” The challenges ahead include: Reversing a 34‑year drought of U.S. victories on European soil. Countering Luke Donald's third consecutive captaincy, which could make him the first to win three straight. Managing media scrutiny after Woods’ high‑profile withdrawal. If Furyk can translate his 2024 Presidents Cup success into Ryder Cup results, the 2027 showdown at Adare Manor could become a pivotal moment for American golf.

The Masters 2026 is heating up on day three, with Rory McIlroy maintaining his six-shot lead at the top of the leaderboard. McIlroy's performance has been impressive so far, and he looks set to continue his dominance. Scottie Scheffler, the world number one, started the day 12 shots off the lead but has since closed in to within six shots. He achieved an eagle on the second green, which has helped him move up the standings to -2. The leaderboard currently looks like this: -12: McIlroy -6: Burns, Reed -5: Rose, Lowry, Fleetwood -4: Clark, Hatton, Li, Reitan, Day, Young -3: Gotterup, Koepka, Griffin -2: Gerard (4), Scheffler (4), Homa, Knapp, Schauffele, Matsuyama Meanwhile, several big names have missed the cut, including Danny Willett, JJ Spaun, Bubba Watson, and Bryson DeChambeau. The day's play is expected to get underway at 6pm BST, with the course conditions likely to become increasingly challenging as the day progresses.

Tom Watson, an eight-time major winner, has blasted the PGA Tour over its recent decision to allow Brooks Koepka and Patrick Reed to return from LIV Golf. Moments after participating in the honorary first drive ceremony at the 2026 Masters, Watson lambasted the tour's decision.Watson expressed his discontent, saying that by reinstating Reed and Koepka, the tour had reneged on promises made to players who remained loyal during the schism. 'I thought the LIV players, when they left, were supposed to be banned for life,' he stated.Watson suggested that if he were the commissioner, Koepka, Reed, and other returning players would have to qualify through the Korn Ferry Tour. 'If I was the commissioner, that's what I'd do,' he said.Watson also emphasized that the players who left for LIV Golf violated the No. 1 rule of protecting sponsors. 'When the players left, they chose to go for the money, which is fine, but to return to the Tour, I thought was a nonstarter, but apparently it's not.'In response, Reed stated that returning to the PGA Tour was the right decision for his game and family. 'I've always known that the best players in the world and the deepest fields from top to bottom are on the PGA Tour,' he said.

President Donald Trump issued an unprecedented ultimatum on Tuesday, stating that if Iran does not reopen the Strait of Hormuz by 8 p.m. ET, he will "completely annihilate the entirety of Iranian civilization." The threat, posted on his Truth Social platform, was accompanied by language suggesting a total regime change and a benediction to the Iranian people. Democratic officials reacted with alarm. Senator Patty Murray called the post "the rantings of a bloodthirsty lunatic," while Senator Chris Coons labeled it "a threat to commit a war crime." Representative Joaquin Castro warned that the rhetoric implied either a nuclear option or an attempt to convince Tehran of such a possibility, and Rep. Bonnie Watson Coleman urged invoking the 25th Amendment to remove the president from office. Legal scholars highlighted that the United States and Iran are parties to the Fourth Geneva Convention, which bans collective punishment of civilian populations, and to Additional Protocol I, which prohibits attacks on essential civilian infrastructure. Although the U.S. has not ratified the protocol, a 2024 Biden‑era statement affirmed that its core principles are binding as customary international law. During a chaotic White House press conference, Trump reiterated that "the entire country could be taken out in one night" if Iran failed to meet the deadline, and dismissed concerns about civilian casualties by claiming Iranian civilians themselves were urging continued bombing. When pressed about violations of the Geneva Conventions, he did not dispute the legal point but responded, "I hope I don’t have to do it." The Iranian Islamic Revolutionary Guard Corps responded that the strait "will never return to its previous state" for the United States and its allies, underscoring the escalating rhetoric on both sides. Amid the diplomatic flare‑up, the administration also submitted a $1.5 trillion Pentagon budget request, featuring sweeping cuts to domestic programs, further intensifying scrutiny of the president’s foreign‑policy priorities. Critics note contradictions in Trump’s stance: weeks earlier he claimed the U.S. had no strategic need for Hormuz, yet now the strait’s reopening is the centerpiece of his ultimatum. He simultaneously declared the war "won" while threatening its most destructive phase. With Democrats urging constitutional remedies and international law experts warning of potential war‑crime violations, the situation places U.S. foreign policy and domestic governance under unprecedented pressure.

Guy Singh-Watson, founder of organic veg box company Riverford, has expressed deep regret for the decades he spent confined by traditional masculinity. On International Women's Day, he found himself in a crowd of mostly women, listening to his wife discuss her experiences. This encounter made him realize that many issues discussed on IWD relate to male behavior, and men should be paying attention. Challenging Traditional Masculinity: Singh-Watson notes that success in farming and most businesses depends on building and maintaining relationships. He recalls that when Riverford first measured its gender pay gap in 2017, women earned an average of 91p an hour compared to their male colleagues' £1. Despite efforts to address the issue, progress was slow until a new, younger female farm manager, Maddie, took charge and transformed the workplace culture. Under Maddie's leadership, Riverford became one of the few veg farms with a waiting list for pickers. The company achieved this by creating a fun, emotionally safe, and fulfilling work environment. Singh-Watson acknowledges that he and other men in leadership roles often struggle with sensitive issues and tend to turn to women for resolution. A Shift Towards Inclusivity: The cultural shift at Riverford began with its transition to employee ownership in 2018. This process required introspection and evaluation of decision-making processes. With the help of a business change coach and the company's head of HR, a genuinely inclusive culture was built. As a result, Riverford now has a negative gender pay gap, with women earning 1.56% more per hour than men. Singh-Watson emphasizes that men can change and that embracing emotional literacy – kindness, openness, empathy, and compassion – makes them stronger. He encourages men to cast off limiting beliefs around what it means to be a man and to support each other and the women in their lives. Ultimately, inclusivity benefits everyone, and men must take responsibility for creating a more equitable and compassionate work environment.

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.

Lonely lives, falling between the gaps, are at the heart of this 1935 psychological thriller by Rodney Ackland, adapted from Hugh Walpole's novel. It's an atmospheric period piece, but isn't entirely a stretch to reflect on our own concerns about solitude in an ageing population.The three ladies in an English cathedral town are without partners, families or much of an income. They eke out their genteel poverty in a rickety boarding house. They weren't raised to work; Miss Beringer, in desperate need of a job, can only imagine becoming a paid companion or, possibly, flower arranging.In Brigid Larmour's finely etched production, irritable passions ferment beneath the frowsty knits and beads. The characters are prey to spite and greed, nerves and night terrors. Voices are tremulous; eyes glance at a fearful future.Beringer is the new lodger: Catherine Cusack, whittled by anxiety, timidly nibbles on a scallop-edged biscuit. She is welcomed by Julia Watson's Mrs Amorest, flustered but keeping up appearances. Down to her last £10, she writes into the void to a long-absent son.The third lady is Agatha. Fruitily overblown in the novel, that's how Edith Evans played her in 1935. Abigail Thaw makes her disconcertingly eccentric: forbidding in jet black, she mocks and snaps at quivering Miss Beringer. She covets Beringer's one cherished possession – a translucent chunk of amber from a beloved female friend.It's a play of cross-hatched conversations and melodramatic plotting. Larmour's design team help turn the screw: the dank-toned house and clothes in tones of moth and cobweb, a bitter wind blowing.Ackland's plays about rackety lives are increasingly revived. He, Walpole and John Gielgud, the play's original director, were all queer artists, and it's tempting to imagine them drawn to these lives on the margins of British society. Though these ladies don't so much rage against the dying of the light as wait, fearfully, to be snuffed out.