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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.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.

Dash Crofts, the renowned musician from the soft rock duo Seals and Crofts, has died at the age of 85. His passing was announced by the duo's producer, Louie Shelton, on social media. Crofts succumbed to complications following heart surgery, as confirmed by a family member. Crofts and his musical partner, Jim Seals, crafted some of the most iconic hits of the 1970s, including 'Summer Breeze' and 'Diamond Girl'. Their 1972 album 'Summer Breeze' reached the top 10 in the US and featured the hit single 'Hummingbird'. The duo's gentle musical style, characterized by breezy soft rock, became a staple of the decade. The duo faced controversy with their 1974 album 'Unborn Child', which reflected their Bahá’í faith. The title track sparked a backlash and was banned by some radio stations following the landmark Roe v Wade ruling. Despite this, their music continued to resonate with audiences, and they remain celebrated for their contributions to the soft rock genre. After the duo disbanded in 1980, Crofts pursued a quieter life in Nashville, focusing on country music. Yacht rock, the genre they helped define, has seen a recent resurgence in popularity, with a 2024 HBO documentary highlighting its importance. Crofts' legacy continues to inspire new generations of music lovers.

Classical music has long struggled to find relevance and impact in modern times, but a surprising solution may have been found in the form of a blue heeler puppy. Bluey, the Australian cartoon for children of all ages, has become a global phenomenon with over 45 billion minutes watched in the US alone and over 1 billion streams of its albums and soundtracks. The show's music, composed by Joff Bush, is a key factor in its success. Bush's soundtrack is remarkably diverse, incorporating a wide range of genres, including classical music. He seamlessly weaves in classical pieces from renowned composers like Bach, Beethoven, Mozart, and Holst, making them an integral part of the show's narrative. One notable example is the use of Mozart's Rondo alla Turca in the show's first episode, Magic Xylophone. This introduction to classical music is not done in a forced or condescending way; instead, Bush uses these pieces to enhance the emotional impact of each scene. For instance, Holst's Jupiter from The Planets is used in the Sleepytime episode to create a cosmic journey for Bingo. The new Bluey album, Up Here, continues this trend, featuring a three-and-a-half-minute orchestral tone-poem on the Bluey theme tune. This piece serves as a Young Person's Guide to the Orchestra for 2026, introducing listeners to various musical sections and instruments. The album also includes quotes and transformations of famous classical pieces, such as Mozart's Eine Kleine Nachtmusik and Vivaldi's Spring from The Four Seasons. Bush's approach to incorporating classical music into Bluey is refreshing and effective. Unlike previous cartoons that used classical music to parody or mock its elitist pretensions, Bluey presents these pieces in a joyful and organic way. This approach has the potential to introduce classical music to billions of listeners worldwide, making it a significant development in the classical music landscape.

Denis Lavant delivers a captivating performance in 'Redoubt', a Swedish film directed by John Skoog. Lavant plays Karl-Göran Persson, a farmhand from rural Sweden who becomes fixated on transforming his humble shack into a public shelter, dubbed a 'redoubt', in preparation for a potential nuclear catastrophe.The film, shot in stunning monochrome, chronicles Persson's journey as he scours the countryside for materials to fortify his shelter. His obsession is sparked by an official pamphlet warning citizens of the impending threat of nuclear war. As Persson works tirelessly on his project, he faces a mix of curiosity and hostility from the local community.Lavant's portrayal of Persson is both intriguing and vulnerable, evoking comparisons to iconic characters like Quasimodo and Nosferatu. The actor also showcases his musical talents on the accordion and even appears to hypnotize a chicken. Despite the film's static nature, which may leave viewers questioning its direction, Lavant's performance is unforgettable.'Redoubt' is a thought-provoking exploration of loneliness, fear, and community. While the film's conclusion may seem ambiguous, it ultimately presents a poignant reflection on the human condition. With its unique blend of drama and social commentary, 'Redoubt' is set to leave a lasting impression on audiences when it hits UK cinemas on March 27.

Irvine Welsh's cult classic novel Trainspotting is to be reimagined as a musical, with its West End debut scheduled for July at the Theatre Royal Haymarket in London. The musical adaptation, also titled Trainspotting, will be a collaboration between Welsh and composer Stephen McGuinness.Welsh's 1993 debut novel has already been adapted into a film and a play, and has spawned several sequels and soundtrack albums. The musical will feature a mix of original songs and tracks from Danny Boyle's 1996 film adaptation, including Iggy Pop's 'Lust for Life'.“It wasn’t the most obvious book to be successful,” Welsh noted. “And it wasn’t the most obvious movie or stage play to be successful. It’s confounded expectations – especially my own.”The story follows four friends struggling with addiction and crime in Edinburgh. Welsh cited musicals like West Side Story, Oliver! and Rent as examples of successful adaptations of complex, serious material.The musical will include a couple of new characters and contextual material from Welsh's 2012 prequel, Skagboys. Robbie Scott, 26, will play the lead role of Mark Renton, marking his West End debut.“It’s got real sass and vigour in the way the actors spark off against each other,” Welsh said. “I’m really looking forward to an audience seeing it.”

Raye's sophomore album, 'This Music May Contain Hope', is a bold, 73-minute concept album divided into four sections. The album tells the story of an emotional breakdown caused by romantic woe, online criticism, and a troubling call from her grandmother.The album features a wide range of musical styles, from retro soul to swing-era jazz, house music, and show tunes. Raye's soprano is occasionally deployed in distinctly operatic style, while her vocals take on the careful enunciation of a musical theatre star.The album boasts rococo orchestration reminiscent of Hollywood's golden era, with guest stars like Al Green and Hans Zimmer. While the album occasionally feels like A Bit Much, its highlights are 'skyscraping,' with tracks like 'Nightingale Lane' and 'Beware … the South London Loverboy' showcasing Raye's incredible vocal range and genre-bending style.Despite some flaws, the album pays off more often than it fails, making it a rare event in the 21st-century music scene: a wildly ambitious and fascinatingly messy miscellany of ideas that refuses to be pigeonholed.

Richard Kind, a versatile actor known for his roles in films like 'Inside Out' and TV shows such as 'Only Murders in the Building', is set to take the stage in London's West End in Mel Brooks' musical 'The Producers'. Kind will play the role of Max Bialystock, a charismatic and cunning Broadway producer, at the Garrick theatre from March 23 to May 9.Kind, who has a reputation for his dynamic performances, describes his interpretation of Max as a 'big bear' who 'lumber' across the stage, drawing inspiration from Zero Mostel, who originated the role in the 1967 film. He contrasts his approach with that of Nathan Lane, who played the role on Broadway, saying, 'Nathan glides. I'm a big bear. I lumber.'The actor, who has had a long and varied career in both comedy and drama, notes that theatre offers him a chance to take on more challenging roles. 'I'm at the point where I can say 'no' to a stage role unless it's challenging,' he explains. Kind's extensive experience includes work with Second City, the Chicago improvisational troupe, and roles in sitcoms like 'Spin City' alongside Michael J Fox.Kind also opens up about his friendship with George Clooney, a close pal who has been publicly criticized by Donald Trump. Kind expresses his protectiveness towards Clooney and his disdain for Trump, showcasing his strong opinions and 'ugly' language when discussing the former president.With his characteristic wit and candor, Kind reflects on his career, stating, 'I'm all over the place! Nobody works more than me.' His performance in 'The Producers' promises to be a highlight of London's theatre scene this season.

In the end, a comedy show leaves you with a feeling that tells you whether it worked or not. The general consensus about the inaugural episode of Saturday Night Live UK is that it did work, though some may feel the cast of 11 actors and 20-strong writing team only just got away with it.The show began with an impression of Keir Starmer by George Fouracres, followed by the guest host monologue by Tina Fey, former head writer at the original SNL. Like many sketches to come, it started stiltly but warmed up to end in relative triumph.One of the stronger sketches featured a skincare range called Undérage by Pedolay, with the tagline "everyone will think your husband is a nonce!" While some sketches went on too long—a tradition almost as longstanding as the cold open—others hit their mark better.A sketch about David Attenborough's Last Supper with reanimated icons offered a disturbingly good Diana impression by Jack Shep, followed by two successful bits featuring Hammed Animashaun as an honest film critic and as part of a team dedicated to making the internet "as bad as it can possibly be."The team recovered with a solid Weekend Update presented by Ania Magliano and Paddy Young, which contained proper jokes for grownups, including references to "Boris Pistorius/Saddam Walliams" and a joke about "It's a Sin becoming a musical as if a TV show about the Aids crisis could get any gayer."While a Shakespeare sketch and a bra-fitting sketch had mixed results, and performances by Wet Leg were described as "god-awful," the reviewer concluded that the show did not fail and could become more successful as the team and audience settle in over coming weeks.The review acknowledges that while the show could have been a lot worse, it also could have been better. However, the attempt to retool a legacy American brand for British audiences was refreshing and ambitious, with potential for growth and improvement.