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The Tyne-Wear derby between Newcastle United and Sunderland AFC ended in a 2-1 victory for the visiting team, but the match was overshadowed by reports of racist abuse directed at Sunderland's Lutsharel Geertruida by home fans.The incident occurred early in the second half, prompting referee Anthony Taylor to temporarily halt play in accordance with the Premier League's on-field anti-discrimination protocol. Granit Xhaka, Sunderland's captain, informed Taylor of the alleged abuse, which led to a discussion with both managers and the player involved.The Premier League has launched a full investigation into the incident, with Northumbria Police making one arrest during pre-match skirmishes between rival fans. Newcastle United has condemned the abuse and vowed to work with authorities to identify and hold accountable those responsible.In a statement, Newcastle United said: "We are aware of a report of racism made by a visiting player against someone in the crowd during our Premier League match against Sunderland. Our stance is clear – we do not tolerate discrimination of any form. We will work with the authorities to fully investigate and will ensure any individuals are identified and held accountable."Sunderland AFC also released a statement, expressing their support for Geertruida and condemning the racist abuse: "Sunderland AFC is aware of the reported incident of racist abuse directed at Lutsharel Geertruida during today's fixture at St. James' Park. We stand with Lutsharel, who has our complete backing, and we commend him for displaying bravery and leadership by reporting this incident to the match officials."The incident has highlighted the ongoing issue of racism in football and the need for clubs and authorities to take a strong stance against such behavior.

The Gondoliers, Gilbert and Sullivan's last big hit, has been brought to life by the English Touring Opera in a production that is both a feast for the eyes and ears. The opera, which came hot on the heels of the famous quarrel over a carpet at the Savoy theatre, showcases Sullivan's sunniest and most sophisticated score paired with some of Gilbert's most brilliantly barbed lyrics.A sharply pointed satire on the pitfalls of egalitarianism, the plot features babies swapped at birth and a pair of gondoliers, one of whom may or may not be the son of the recently deceased King of Barataria. The production locates the action in the late 17th century, but contemporary resonances abound, including the cash-for-endorsements antics of the money-grubbing Duke and Duchess of Plaza-Toro.Visually stunning, Liam Steel's staging channels the chocolate box style of the D'Oyly Carte company, with set designer Michael Pavelka's revolving Venetian bridges and Laura Jane Stanfield's rococo costumes creating a feast for the eye. The ensemble cast, including Robin Bailey as Marco and Samuel Pantcheff as Giuseppe, deliver exceptional performances with boundless enthusiasm.The production's success can be attributed to the mischievous wit of Steel, who places dance at the heart of everything while never missing a trick with copious running gags and deft comic timing. A standout moment is the putting of the true king's elderly nursemaid to the rack, which is pure laugh-out-loud entertainment.

Choreographer Alexander Whitley's latest works, Mirror and The Rite of Spring, are a thought-provoking exploration of the relationship between technology and human performance. In Mirror, dancers Gabriel Ciulli and Daisy Dancer move in tandem, their bodies studded with motion-capture markers, as they interact with digital doppelgangers that appear on stage.The use of technology in Mirror creates a sense of tension, as the dancers' movements are echoed and eventually upstaged by their digital counterparts. This tension raises questions about the role of technology in dance and whether it enhances or detracts from the human performance.In The Rite of Spring, Whitley reimagines Stravinsky's classic score with a glitched and layered version, accompanied by rudimentary choreography. The piece features five dancers and a makeshift maypole, but ultimately feels disjointed and lacking in energy.Whitley's use of technology in both pieces is a deliberate attempt to explore the boundaries between human and digital performance. While Mirror is a more successful exploration of this theme, The Rite of Spring feels like a missed opportunity to fully integrate technology and tradition.

CrossSense, an innovative AI software, has been awarded a £1m prize for its groundbreaking technology designed to assist individuals with dementia. This cutting-edge system is integrated into smart glasses and features a user-friendly assistant named Wispy. The smart glasses, equipped with a camera, microphone, and speakers, provide wearers with real-time guidance and support through everyday tasks.Wispy offers verbal cues and text prompts that float in front of the wearer's eyes, enhancing their ability to navigate daily life. The AI assistant can also engage in light conversation, ask questions, and aid reminiscences, significantly improving the wearer's independence and quality of life.The Longitude Prize on Dementia, funded by Alzheimer's Society and Innovate UK, aims to encourage the development of technology that helps people with dementia stay independent for longer. About 150 million people are expected to be living with dementia by 2050, making such innovations crucial.The CrossSense technology is expected to cost around £50 a month per subscription, with the smart glasses potentially costing up to £1,000. However, the developers plan to make the technology more affordable over time. The team behind CrossSense plans to conduct a pilot study with smart glasses in people's homes later this year.Prof Julia Simner, who led the study, noted that participants with dementia could correctly identify 46% of household items without the glasses, increasing to 82% with the glasses. An hour after removing the glasses, the identification rate remained high at 78%.While experts praise the innovation, they also highlight the need for larger, more controlled studies to test the device's effectiveness and address ethical considerations regarding data collection and user consent.

The world of ballet has long been associated with a specific physical ideal, particularly when it comes to foot shape. However, dancers with flat feet are proving that this condition is not a barrier to success. For Claudia Efemini, picking up her ballet shoes again after six years was a bittersweet experience. While she was excited to revisit a childhood hobby, she was also disheartened by the memory of being discouraged from pursuing ballet due to her flat feet.The industry's obsession with 'perfect' feet, characterized by high arches, has led some dancers to use fake arches, or farches, to create the illusion of more flexible feet. However, flat-footed dancers like Alex Maureen and Ruth Essel are thriving in the ballet world. Maureen, a performer and dance instructor at New York University, and Essel, founder of Pointe Black, a London-based ballet school, reject the notion that flat feet are an obstacle to success.Research shows that Black people are more prone to having flat feet, but Essel and Maureen's experiences demonstrate that this condition does not predetermine one's potential in ballet. Through education and self-advocacy, they have overcome discouraging beliefs about their feet and developed strategies to work with their body types. Essel, with a background in psychology, learned about anatomy and exercises to strengthen her ankles and improve foot mobility.Injury prevention is crucial for flat-footed dancers, who tend to land on their heels. Maureen and Essel stress the importance of educators adapting to different body types and seeking specialist advice when needed. They also highlight the need for greater diversity in ballet, including more Black pointe shoe fitters and physiotherapists.Maureen and Essel have developed checklists for their students before they start using pointe shoes, ensuring a comfortable and supportive fit. As Maureen advises, 'You just need your shoe to work for you, not against you.' For aspiring ballerinas with flat feet, Maureen's words of encouragement are 'Give yourself grace. Be kind to yourself.'