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Riki Lindhome's 'Dead Inside' is a refreshing and emotionally involving comedy that chronicles her journey to become a mother. The show is a beautifully judged hour of entertainment, tackling topics such as pregnancy loss, IVF, and surrogacy with humor and sensitivity.Lindhome's modesty and unassuming approach make the show feel less like a typical autobiographical performance. She signs off most of her songs with a demure 'that's it,' and the production values are similarly understated. The show features witty and bittersweet numbers, including a parody of Disney princesses and a song asking 'will you be my bio-dad?'The show also touches on awareness-raising dimensions, including the challenges of surrogacy and the importance of transparency in the process. Lindhome's performance is compelling and persuasive, engaging the audience's heart, head, and funny bone.'Dead Inside' is a must-see comedy that will leave you entertained and moved. It is currently running at Soho theatre, London until 18 April.

As gas prices surge past $4 a gallon, Donald Trump's approval rating has plummeted to 33%, the lowest during his second term, according to a University of Massachusetts Amherst poll. The war on Iran, which has led to rising fuel costs, is becoming a liability for the Republican party.JD Vance, the vice-president and potential 2028 Republican presidential candidate, is attempting to distance himself from the Iran conflict. Sources close to Vance are speaking out, claiming he has always been against the war. Axios reported that Vance had expressed skepticism about Israel's prime minister, Benjamin Netanyahu, over the war.Vance's wife, Usha, is also gearing up for a public role, launching a podcast called 'Storytime With the Second Lady' aimed at children, a move seen as an attempt to build a positive public image ahead of the 2028 election.Despite these efforts, Vance's charisma and credibility are being questioned. His appearance on The Benny Show podcast, where he discussed UFOs and aliens as 'demons,' has raised concerns about his judgment and appeal to a broader audience.

Kimberly Belflower's revisionist take on Arthur Miller's classic The Crucible re-spins the witch-hunts for the #MeToo generation. Set in 2018, the play follows a classroom of teenagers—mostly girls—as they attempt to establish a feminist club, an effort seemingly sparked by contemporary news headlines. This original approach addresses adolescent girlhood in the direct aftermath of the Harvey Weinstein scandal, though the production takes time to build momentum.The narrative centers on Beth (Holly Howden Gilchrist), the class academic; Ivy (Clare Hughes), whose father faces workplace misconduct allegations; Nell (Lauryn Ajufo), the new student; and Raelynn (Miya James), a pastor's daughter dealing with relationship betrayal. Shelby (Sadie Soverall), though absent for much of the play, plays a crucial role in the unfolding drama.Set in a small-town Georgia high school, the feminist club concept initially proves controversial until a charismatic teacher, Carter Smith (Dónal Finn), suggests expanding it to include boys. Directed by Danya Taymor and performed continuously in under two hours, the script pivots around the students' study of Miller's play alongside their developing understanding of intersectional feminism.The production captures the girls' internalization of societal micro-aggressions with humor and pathos, incorporating pop music tributes to artists like Lorde, Taylor Swift, and Beyoncé. While the dialogue authentically portrays adolescent female relationships, the review notes these connections are sometimes flattened by their cuteness rather than reflecting the sharp edges typical of this transitional life stage.A significant parallel emerges between Miller's John Proctor—a morally complex character who ultimately maintains his principles—and the predatory male figure in the contemporary narrative. The review suggests a false equivalence between these characters, as the modern figure is portrayed as a serial abuser rather than a morally conflicted individual.The play concludes with an emotional climax as students reinterpret scenes from The Crucible through interpretive dance, symbolizing their liberation while acknowledging that the predator remains in their midst. This ending, while thematically resonant, is described as feeling neat and easy despite its powerful emotional impact.Despite these criticisms, the production effectively captures the zeitgeist of 2018 for a generation of girls coming of age in the shadow of the Weinstein scandal and the #MeToo movement, raising questions about the movement's lasting impact and current relevance.