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By the time head coach Jesse Marsch concluded the March international window, the clock was ticking toward April, leaving Canada with more questions than answers ahead of the 2026 World Cup. The Toronto friendly against Tunisia turned into an “odd” afternoon, with a sudden lightning delay pushing the match’s finish to 11 p.m. and forcing fans to follow the action on mobile devices while rain hammered the city. While many had imagined a Canada‑Italy opener after the December draw, the draw against Bosnia and Herzegovina proved a relief. Swapping a potential clash with the world’s 12th‑ranked side for a match against the 65th‑ranked Bosnia is now viewed as a fortunate turn, yet the Bosnian squad displayed a relentless mid‑press that tested Canada’s defensive organization. Bosnia’s pressing generated 30 shots and a torrent of crosses, with veteran striker Edin Džeko looming as a threat and young forwards Esmir Bajraktarević and Kerim Alajbegović showcasing high energy. Marsch noted, “These kids grew up in a war‑torn country; they have resilience that showed in the last week.” Defensive depth emerged as a glaring issue. Centre‑back Moïse Bombito returned to training but remains sidelined with a Nice injury, while regulars Alfie Jones, Derek Cornelius and Luc de Fougerolles were unavailable. MLS pair Joel Waterman and Kamal Miller displayed “ill‑timed jitters,” raising concerns about the back line’s stability. Offensively, Canada’s output was blunt. Across two matches only two Jonathan David penalties found the net; forwards Cyle Larin and Tani Oluwaseyi failed to create a decisive spark. Larin’s last goal for Canada came in October 2024, and Oluwaseyi has scored just two times in 22 caps. Moreover, the team has failed to score from open play in six of their last seven internationals, recording three 0‑0 draws on home soil. Amid the gloom, 22‑year‑old winger Marcelo Flores offered a glimpse of optimism. The former Tigres talent, recently cleared to represent Canada after switching from Mexico, dazzled with dribbles and quick pivots, prompting calls to elevate Juventus striker Promise David and position Flores in a more creative role. The final, lingering question concerns the starting goalkeeper for the June 12 opener. Marsch has oscillated between Maxime Crépeau and Dayne St Clair for two years, and injuries have prevented a decisive choice. Both keepers remain fit, leaving the coach “as close as it’s always been” to a decision. Predicted squad Goalkeepers: Dayne St Clair, Maxime Crépeau, Owen Goodman. Defenders: Moïse Bombito, Derek Cornelius, Luc de Fougerolles, Joel Waterman, Alistair Johnston, Niko Sigur, Richie Laryea, Alphonso Davies. Midfielders: Steph Eustaquio, Ismaël Kone, Mathieu Choinière, Nathan Saliba, Jonathan Osorio, Tajon Buchanan, Ali Ahmed, Liam Millar, Marcelo Flores, Jacob Shaffelburg. Forwards: Jonathan David, Cyle Larin, Tani Oluwaseyi, Daniel Jebbison, Promise David.

The Guardian’s investigation has revealed that the company responsible for the unauthorised partial felling of a 500‑year‑old oak in Whitewebbs Park, Enfield, was Ground Control, a maintenance business that reports a turnover of £190 million. The tree was cut down in September 2025 on behalf of Mitchells & Butler Retail (MBR), the owner of the Toby Carvery restaurant chain. MBR initially defended the action, claiming its contractor warned that the oak was diseased and posed a safety risk. However, a coalition of experts – including a Forest Commission investigator and ancient‑tree specialist Russell Miller – found the tree to be healthy with no imminent danger. Miller described the alleged “hazard” as an old, semi‑occluded wound that did not justify felling the entire tree. According to Dr. Ed Pyne of the Woodland Trust, the delay in identifying the contractor highlights a broader lack of transparency: "What evidence exists that the tree was dangerous? What qualifications did the operatives have?" He added that the justification for the removal remains unsubstantiated. Ground Control’s own documentation shows the work was assigned to its grounds‑maintenance team rather than its specialist arborists, a detail that fuels further criticism of MBR’s decision‑making process. Sources close to the firm say an internal review was conducted by a contracts manager, not a tree expert. Enfield Council, which owns the park, has launched legal action to evict Toby Carvery after MBR refused to apologise or offer compensation. The council also referred the incident to the police, but officers declined to investigate, deeming it a civil matter. Complicating the dispute, MBR is majority‑owned by investment group Enic, which holds strong financial ties to Tottenham Hotspur. The football club plans to develop a women’s training academy on 17 hectares adjacent to the park, a proposal opposed by the local campaign group Guardians of Whitewebbs. The group has secured a judicial review of the planning permission, set for June. In a statement last April, MBR asserted that its “specialist arboriculture contractors” deemed the split and dead wood a serious health‑and‑safety risk. A Toby Carvery spokesperson declined further comment, citing ongoing legal proceedings. The revelation of Ground Control’s involvement adds a new layer to the controversy, raising questions about corporate responsibility, environmental stewardship, and the adequacy of legal protections for historic trees in urban green spaces.

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.

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.