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The Performance We know that Aeneas is going to sail away. We know it before he arrives, before he declares his love to Dido, and certainly before the Sorceress and her witchy acolytes get all eye-of-newt about it. But when your opera house is the great hall under the Cutty Sark, and the clipper’s 200ft copper hull is rearing up over your head, it’s impossible to forget the tragedy that Purcell’s compact drama has in store. The Staging So you have to wonder why Andrew Staples, director of the Monteverdi Choir’s semi-staging, felt the need to work quite so hard? The space is the staging. You can try to ignore it (no mean feat when the museum’s collection of antique figureheads flanks the stage in a surreal guard of honour: Florence Nightingale rubbing painted wooden shoulders with Disraeli, Sir Lancelot and a selection of buxom lovelies), but you can’t work against it; you simply won’t win. The Musical Performance Close your eyes, though, and this was a rich account. Conductor Jonathan Sells rode every darting, eddying current in the score, the English Baroque Soloists a colourful, abandoned force in celebration, infinitely restrained elsewhere. Best of all were unaccompanied choral moments – “With drooping wings”, or the two interpolated Funeral Sentences – where movement and time stilled together, voices absolutely unified in their inflection, carving the music’s emotions with devastating clarity. The Vocal Performances The space’s natural resonance allied to some big voices made for an exciting central drama. German-Egyptian mezzo Karima el Demerdasch (definitely one to watch) was a voluptuous-voiced Dido, her suicidal queen still coming into focus. Johanna Wallroth’s radiant, exuberantly ornamented Belinda and Bethany Horak-Hallett’s sumptuous Sorceress supplied the rival musical poles, tugging us from good to ill and back again. And what a treat to have a properly baritonal Aeneas in Hubert Zapiór – a worthy lover and sparring partner for Demerdasch, a hero almost worth dying for. The Future of the Performance Next month the show travels to Norway for the Bergen festival. Cut loose from its nautical anchor, I suspect it’ll pick up several dramatic knots.

The Fuel-Driven Retail ContractionMotorists cutting back on petrol and fuel purchases at the steepest rate since the Covid pandemic in 2020 drove retail sales in Great Britain to their biggest monthly decline in a year. The Office for National Statistics (ONS) reported that the overall volume of retail sales plunged by 1.3% in April compared with the previous month, marking the biggest contraction since May last year and exceeding economists' expectations of a -0.6% decline.The Fuel Purchase FreefallFuel purchases plunged more than 10% month on month, representing the biggest slide since November 2020, when monthly sales fell 14.8% as pandemic protocols put households into a second national lockdown. After strong growth in March, motorists appear to be conserving fuel, with the ONS noting that "these subdued fuel purchases contributed to a sizeable monthly fall for total retail sales in April."Financial Impact AnalysisThe ONS slightly revised down its initial estimate of retail sales growth in March from 0.7% to 0.6%. That previous rise had been driven by a 6.1% increase in fuel sales volumes – and a 12% rise in the value of fuel sales, the biggest monthly increase since November 2021 – as the Iran war prompted "panic at the pumps" and a rush to stock up amid the biggest jump in fuel prices for more than three years.When excluding the impact of the dramatic fall in fuel purchases, total retail sales still fell by 0.4% month on month, indicating broader consumer caution beyond just fuel purchasing decisions.Shifting Consumer Behavior in RetailDespite the overall decline, there were "strong and sustained" sales at beauty product and computer and tech shops in April. However, retail stores faced a 0.4% decrease versus March, with clothing stores taking the brunt as sales declined 2.4% – the lowest level since June last year. This decline occurred amid variable weather conditions and lower demand as shoppers worried about rising prices.Consumer sentiment has fallen at its fastest rate for four years, according to Jacqueline Windsor, head of retail at PwC UK, who noted that "April 2026 will be remembered as the first month that the impact of the Middle East conflict first hit British consumers."Future Outlook for UK RetailThe question now is whether the downward momentum in retail sales will continue, or if May's better weather and potentially lower inflation can encourage consumers back into stores as spring turns to summer. Over the first quarter, total retail sales rose by 1.1% year on year and 0.5% compared with the final three months of last year, suggesting some underlying resilience despite the April downturn.The retail sector faces significant headwinds from geopolitical tensions affecting fuel prices and broader economic uncertainty, which may continue to influence consumer spending patterns in the coming months.

The Lead: A Bold Re‑imagining of Garland’s Final YearsThe Guardian’s review opens by noting that Drag Race star Jinkx Monsoon brings her celebrated Judy Garland impersonation to a new narrative context—a love triangle set in 1960s London. The revival of Peter Quilter’s 2005 play shifts focus from Garland’s early exploitation to her later struggles with addiction and a fraught personal life.The Production’s Narrative Twist: Love, Addiction, and Queer IconographyMonsoon’s Garland is caught between steadfast pianist Anthony (Adam Filipe) and opportunistic suitor Mickey (Jacob Dudman).The script juxtaposes private hotel scenes with public performances at Talk of the Town, highlighting the clash between fame and personal decay.Queer themes surface through Anthony’s admiration and Mickey’s homophobic contempt, underscoring Garland’s status as a queer icon.Musical Direction and Visual Design: Orchestrating EmotionMusic direction by Nick Barstow and arrangements by Leo Munby anchor the drama, with Garland’s torch songs—"Just in Time" and "You Made Me Love You"—serving as emotional pivots.Designer Jasmine Swan creates a stark white‑curtain stage, while lighting designer Prema Mehta introduces a Technicolor‑inspired transition that mirrors Garland’s cinematic legacy.Critical Reception: Performance Nuances and Structural FlawsMonsoon’s vocal performance is praised for its dynamic range, capturing both triumph and fragility.The review notes repetitive hotel scenes that, while authentic to addiction’s grind, can feel grindingly static.Supporting characters are deemed functional, serving more as narrative devices than fully fleshed personalities.Future Outlook: Potential for a One‑Woman ShowcaseThe critic suggests that Monsoon’s talent hints at a possible solo rendition of Garland’s story, which could amplify the intimate connection she already establishes with the audience. The show runs at Soho Theatre Walthamstow until 21 June, offering theatre‑goers a chance to experience this layered homage before any further developments.

Tonight’s Must‑Watch TV HighlightsThe Guardian’s latest TV guide showcases a mix of drama, comedy and culinary spectacle across Britain’s major broadcasters. From a stylish Cold‑War thriller on Sky Atlantic to the nation’s biggest curry restaurant on Channel 4, the line‑up promises both intrigue and comfort food for viewers.‘Ponies’: A Cold‑War Thriller Starring Emilia ClarkeEmilia Clarke headlines ‘Ponies’, a star‑filled, stylish and surprisingly fun Cold‑War drama airing at 9 pm on Sky Atlantic. Clarke plays Bea, a highly educated Russian‑speaking secretary who teams up with street‑smart Twila (Haley Lu Richardson). Together they investigate the mysterious deaths of their husbands in Moscow, operating as “persons of no interest”. The cast also includes Adrian Lester and Harriet Walter.Scheduling Slots and Audience Reach Estimates9 pm – Sky Atlantic: ‘Ponies’ (Cold‑War thriller)8 pm – Channel 4: “World’s Biggest Curry Restaurant” – a behind‑the‑scenes look at the Royal Nawaab in Stockport.9 pm – BBC Two: “Hidden Treasures of the National Trust” – cultural‑heritage documentary narrated by Toby Jones.10 pm – BBC Three: “Smoggie Queens” – comedy sketch series.10:05 pm – Sky Atlantic: “Hacks” – penultimate episode of the AI‑satire comedy.11:40 pm – BBC One: “St Denis Medical” – double‑bill US mockumentary.While exact viewership figures are not yet released, prime‑time slots on Sky Atlantic and Channel 4 typically attract 1–2 million live viewers, with additional streaming audiences on platform‑specific apps.Why Cold‑War Drama Is Resurfacing on UK TVThe renewed interest in Cold‑War narratives aligns with a broader cultural fascination for geopolitical tension and espionage, spurred by recent successful series such as *The Americans* and *Killing Eve*. By pairing a high‑profile star like Clarke with a genre that blends thriller, period intrigue and dark humor, broadcasters aim to capture both legacy audiences and younger viewers seeking fresh takes on historic settings.What This Means for Next Season’s Programming ChoicesGiven the strategic placement of *Ponies* alongside eclectic factual and comedy offerings, networks appear to be betting on a diversified schedule that balances prestige drama with accessible reality‑TV formats. If *Ponies* secures strong live and on‑demand numbers, we can expect more star‑driven, genre‑hybrid projects to fill prime‑time slots in the coming months, potentially nudging streaming services to compete with similar high‑budget, historically‑rooted series.

A candid kitchen conversation with Sir Derek Jacobi The Guardian’s interview captures a warm, unguarded moment as Jacobi and his husband, director Richard Clifford, share coffee and stories in their London home. Jacobi, 80, jokes about his looks, admits he never felt “movie‑star material,” and confides that he would love to reach his centenary. Career milestones and personal anecdotes 1970s breakthrough as the stammering Emperor in I, Claudius. Acclaimed stage work including Cyrano de Bergerac (Royal Shakespeare Company, 1980s) and Macbeth at the Barbican (1993). Recent TV roles in Vicious and Last Tango in Halifax. Early life in Leytonstone; rheumatic fever at nine sparked a shift from working‑class roots to a posh accent and ambition. No financial figures – cultural impact takes centre stage The piece contains no monetary data; its value lies in documenting the lived experience of a veteran actor whose voice and presence have shaped British drama for five decades. What Jacobi’s reflections mean for British theatre and aging performers Jacobi’s honesty about age, health (including his AIDS diagnosis) and self‑image highlights the often‑unspoken pressures on older actors. His partnership with Clifford, who directs and designs their home, underscores the importance of supportive creative collaborations in sustaining long‑term artistic careers. Looking ahead: the goal of hitting 100 Jacobi ends on a hopeful note, expressing a desire to “hit 100” and continue contributing to the arts. His story suggests that longevity in performance is as much about personal resilience and community as it is about talent.

The Play's Concept Imagine if One Day was set in Long Eaton. Now, take its sweeping, time-spanning love story, but make it platonic, and about two theatre-obsessed best mates. That’s the foundation for Jane Upton’s luminous, heart-exploding play, which catches Jess and Billy in a series of snapshots across their friendship. The Story Unfolds Beginning in the early 90s, during their school days, and then moving through their 20s, 30s and into their mid-40s, the play threads together teenage crushes, career decisions, breakups, marriages, births and children. Jess (Katie Redford) is an oversharer while Billy (Benedict Salter) has secrets. Their early years together pass through play rehearsals, parties, personal revelations and betrayals, but even in their lowest moments, the two are always pulled back to each other’s side. The Evolution of Friendship As their lives move in different directions, with Billy heading to London for drama school and later building a career as a high-flying agent, and Jess staying at home in a “suburban bubble” before eventually tiptoeing her way back into the creative scene as a playwright, they turn their noses up at the other’s choices. Still, in times of turmoil, they can’t help but pick up the phone or race across the country just to be there for their old friend. Their dialogue accurately captures people who know each other’s lives inside out. The Production Directed by Hannah Stone, the production shows friendship as something defining. Redford and Salter make their characters people we want to stay with across the decades. In fact, time here slips through our fingers. One moment they’re 15 in 1995, and Jess is getting advice from More! magazine; the next it is 2022, and a 42-year-old Billy is considering surrogacy for his next child. Abby Clarke’s design evokes nostalgia, with the back wall composed of white, Polaroid-inspired squares that shift from photographic outlines to mirrors. The Verdict With so much life to fit into 95 minutes, there are inevitable gaps in Billy and Jess’s stories. We could learn more about the structure of their families and the other relationships in their lives. But really, this is a play about the complicated, beautiful bond between two people. It leaves you desperate for more days with them. Where to Watch At Nottingham Playhouse until 12 June

The LeadHS2, the UK's flagship high-speed rail project, has officially become the most expensive infrastructure endeavor in British history, with costs soaring to £102.7bn and trains potentially not running until 2039. Transport Secretary Heidi Alexander has labeled the original design a "massively over-specced folly" and the cost increases "obscene," yet continues to defend the project despite its clear failures.The Escalating Costs of HS2The project's financial trajectory has been nothing short of disastrous. What began as a more modest proposal has now ballooned to over £100bn, with trains potentially delayed until 2039—decades after initial promises. To put this in perspective, the cost has escalated so dramatically that it dwarfs even other famously extravagant projects like Trump's White House renovations or Dubai's Burj Khalifa. Despite nine different transport secretaries overseeing the project since its inception, the budget has consistently spiraled out of control, with no end in sight.Political Failures and MismanagementSuccessive UK governments have failed to take responsibility for this unfolding disaster. The project originated as a "vanity project" of the David Cameron coalition, with fundamentally flawed design choices including the wrong route, wrong speed, and improper termini. Prime Ministers from Cameron to Johnson to Sunak have all lacked the political courage to cancel the project, with Sunak merely scrapping the Manchester leg, making what remains even worse value for money. Civil servants and advisors have been overwhelmed by the 30,000-strong HS2 bureaucracy, while oversight bodies like the National Audit Office have failed to provide adequate scrutiny.The Case for CancellationThe strongest argument for HS2 is its cancellation. With no track laid and only two viaducts completed out of 52, the project is still in its early stages. The £44bn already spent should be treated as "sunk costs," and the focus should shift to more beneficial investments. Contrary to claims that cancellation would be prohibitively expensive, there's no logical scenario where the £60bn still planned for HS2 would provide better value than reallocating those funds elsewhere. Cancellation would also free up valuable urban development sites around London Euston and Birmingham's Curzon Street, which currently resemble construction disaster zones.Alternative Investments for Britain's FutureThe funds currently committed to HS2—potentially over £100bn—could transform Britain's infrastructure landscape. Instead of focusing on marginal time savings for journeys between London and Birmingham, the government could invest in re-signaling, electrification, and urban transit systems. Britain currently has only nine tram networks or metros, compared to France's 30 and Germany's 60. The annual £7bn HS2 budget could build new hospitals, schools, care centers, youth clubs, and courtrooms across the nation—investments that would address far more pressing needs than marginally faster rail travel for a small segment of the population.

The Olympic LegacyAsh Moloney briefly became the face of Australian athletics after securing the country's first Olympic decathlon medal in dramatic circumstances at the Tokyo 2021 Games. The 26-year-old surged home in the 1500m, egged on by teammate Cedric Dubler, to claim bronze in a moment that inspired a nation. This achievement represented the pinnacle of his decade-long career in the grueling 10-discipline event.The TransitionAfter years of injury recovery, a new coaching relationship, and what he admits was sheer boredom with the decathlon, Moloney has made a bold and risky transformation. He has abandoned the event that brought him glory to pursue a new career in the 400m hurdles. "It's just fun, it's a completely different challenge," Moloney explains of his switch. "I've been ambidextrous my whole life, I can sprint hurdle on both legs. It almost just seemed like why not? Why not give it a try? Get that question out of my head."The Performance DataMoloney's rapid improvement in his new event is remarkable. Since his first competitive 400m hurdles in February, when he finished in 57 seconds, he has consistently lowered his times. Two weeks later in Hobart he ran sub-53s, before recording two times under 52s before nationals in April. At the national championships, he ran under 50 seconds for the first time, finishing third in the final. "I believe I can make Comm Games," Moloney says. "I believe I can go 48 [seconds]."The Impact on Australian AthleticsMoloney's transition comes at a significant moment for Australian athletics. Before the emergence of new generation athletes like Gout Gout and Lachie Kennedy leading Australia's charge towards Brisbane 2032, Moloney represented the future of the sport. His move to hurdles adds depth to Australia's middle-distance and hurdles program, complementing the emergence of sprint stars like Lachie Kennedy, who is now also his coach.The Relationship EvolutionThe decathlon teammates' relationship was tested in the aftermath of Tokyo, with Moloney previously suggesting that the public's interest in Dubler's contribution sometimes overshadowed his own achievement. While Moloney offers only a "no comment" when asked to elaborate on their current relationship, Dubler maintains there's no bad blood. "It's just a change of situation, a change of coaches and perspective," Dubler explains. The two athletes have chosen different paths since the Games, with Dubler continuing to compete in decathlon while targeting his own Commonwealth Games selection.The Future OutlookWith Moloney and Dubler now competing in different events, Australian athletics stands to benefit from their specialized focus. Moloney's renewed enthusiasm for his new event, freed from the physical toll of ten disciplines, has given him a fresh perspective on competition. "Honestly, I was bored with decathlon, I just wanted a new challenge," he admits. As he prepares for the Oceania championship showdown in Darwin and potentially the Commonwealth Games, the former Olympic bronze medalist is proving that reinvention can be as rewarding as achieving initial success.

The Record-Breaking Quarter Nvidia has announced record quarterly profit and revenue amid explosive demand for its advanced AI chips. The US tech behemoth said on Wednesday that profit soared to $58.3bn for the February-April period, up 37 percent from the previous quarter and more than 200 percent year-on-year. Revenue jumped to $81.6bn, up 20 percent from the prior quarter and 85 percent compared with the same period in 2025. Nvidia forecast revenue for the current quarter to hit $91bn, more than most analysts' estimates. The AI Chip Surge Nvidia's data-centre business was the main driver of growth, with quarterly revenue surging 92 percent year-on-year to $75.2bn. The Santa Clara, California-based chip giant's hardware unit racked up revenue of $6.4bn, up 29 percent from the previous year. In a sweetener for shareholders, the world's most valuable company said it would buy back an additional $80bn in shares and raise its quarterly cash dividend from $0.01 a share to $0.25 per share. Nvidia CEO Jensen Huang hailed the "extraordinary" results as proof of the growing utility of AI. "Demand has gone parabolic," Huang said in a conference call with investors and analysts. "The reason is simple. Agentic AI has arrived," Huang said, referring to the advent of semi-autonomous AI models. "AI can now do productive and valuable work." Market Expectations vs Reality Despite once again blasting past analysts' expectations, Nvidia's latest results received a muted market response. Shares in Nvidia fell nearly 1.3 percent in after-hours trading, an indication of the sky-high expectations attached to a company whose blistering growth since 2022 has lifted its market capitalisation to more than $5 trillion. "Expectations are very high, and when a company like Nvidia has been doing as well as it has for so long, it takes a lot for people to get excited," Jay Goldberg, a senior analyst for semiconductors and electronics at Seaport Research, told Al Jazeera. "That's just kind of the nature of Wall Street." "All these stocks have run a lot this year, but a lot of it is driven by press releases," Goldberg said, adding that tech firms have yet to demonstrate a "broad-based consumer case" for AI. The AI Valuation Debate Nvidia's spectacular rise and the sky-high valuations of other tech giants, such as Microsoft and Amazon, have stirred discussion about whether AI is overhyped and creating a massive market bubble. William Rhind, the CEO and founder of New York-based investment firm GraniteShares, said the muted reaction showed that expectations had "caught up to fundamentals." "Nvidia is no longer beating a high bar – it is the bar," Rhind told Al Jazeera. Rhind said the bullish case for Nvidia nonetheless remains strong, pointing to the dividend hike and share buyback scheme as signs of a company with "more cash than it can possibly redeploy into the business". "When the marginal use of capital starts shifting toward buybacks and dividends, you're watching a hypergrowth story begin to mature in real time," he said. "That's not bearish – it's a different kind of bullish." Future Outlook John Belton, a portfolio manager at Gabelli Funds, said Nvidia's latest results should not "dramatically shift the story one way or another". "Overall, another solid earnings," Belton told Al Jazeera, saying the results mirrored the "strong numbers" of previous quarters "albeit without any new earth-shattering developments." As Nvidia continues to dominate the AI chip market, the company faces the challenge of maintaining its extraordinary growth trajectory while navigating increasing scrutiny about whether current valuations reflect sustainable business fundamentals or speculative enthusiasm.