Art Craft and Leisure news

She was joined by actors Tim Bentnick, who plays David Archer, David Troughton, who stars as Tony Archer, and Susie Riddell, who appears as Tracy Horrobin.

“Nerves are frayed on the day of the Borchester Show, and a surprise guest makes their mark,” the programme’s website had hinted.

The duchess was following in the footsteps of Queen Camilla, who appeared on the soap in 2011.

The Queen, also a self-confessed Archers addict, acted out her role as president of the National Osteoporosis Society, in a special episode to mark The Archers’ 60th anniversary.

Queen Elizabeth II’s sister Princess Margaret also made a cameo in 1984, when she was a surprise guest at a fundraising fashion show for the NSPCC, in the ballroom of Ambridge’s local hotel Grey Gables.

Actor Justin Baldoni and his wife, Emily, lamented trauma and pain endured by their family in their first public remarks after a long-running legal battle with co-star Blake Lively.

In May, Lively and Baldoni settled a lawsuit after the 2024 movie It Ends With Us, ending a contentious streak of accusations. The lawsuit alleged he sexually harassed her on set and launched a retaliatory smear campaign.

“There have been so many painful things that have been spoken into existence over the last couple years,” Baldoni said in a video this week.

A judge dismissed Lively’s harassment claims. They settled her retaliation allegations. Lively has said the case highlighted respectful treatment on set.

Baldoni and his wife smiled and chuckled through the nearly five-minute long video released on Instagram on Wednesday.

“We have not spoken publicly for the better part of the last two years, and it’s not because we haven’t had anything to say,” Baldoni said. “Because Lord knows we have.

Emily added: “There has been a lot of trauma for us to move through as a family, which also makes it hard to speak.”

She said the resolution of the case seemed the right time.

“The truth and the facts have spoken for themselves and here we are,” she said.

“We’ve had to wrestle with so many things and try to understand so many things, like how could something like this even happen? Let alone disguised as a fight for women.”

Lively filed the lawsuit against Baldoni and his production company, Wayfarer Studios, in December 2024.

Baldoni filed a $400m (£298.5m) counter-lawsuit against Lively and her husband, actor Ryan Reynolds, alleging defamation and extortion.

Plesera – pleasure in English – is an emotion that weaves its way through Elgan Rhys’ debut Welsh-language novel. After the death of his parents in a car accident, Adam is untethered, having to move in with his childless aunty Kate in Pen Llŷn while attempting to deal with his grief and change of circumstance.

A chance encounter with Bethan, who invites him to play with her son of a similar age, sets up a friendship between Adam and Dewi that ebbs and flows over 20 years. It’s narrated in three parts during key moments of their lives – dealing with tragedy, identity, love, and the importance of connections.

I was fascinated to learn, from an interview with Rhys, that he used a spark of inspiration from an event when he was eight years old as the basis for Plesera; the emotional depth and exceptional prose that features in this story is testament to how that’s been germinating over time. Despite discussing difficult themes, these are conveyed in such a sensitive manner it only adds to the emotional aspect of the characters, and as such it’s difficult not to get swept up in this fascinating, profound and moving story.

The Metropolitan Police have apologised to comedian and campaigner Graham Linehan and acknowledged his “considerable distress” for his arrest over his posts on X in September 2025.

Five armed Heathrow airport officers detained the Irish comedy writer on suspicion of inciting hatred under the Public Order Act as he returned from Arizona.

The BBC understands a settlement has been reached, which is reported to be £25,000.

In a video reacting to the news, Linehan, who now lives in Arizona, said the money will be “very handy” given he has been “fighting against this madness”.

A spokesperson for the Met said they “recognise the considerable distress caused to Mr Linehan, and have offered our sincere apologies”.

They had already apologised to Linehan in May, but issued a second apology as well as the settlement.

Following the arrest, Linehan was taken to hospital after officials became concerned for his health when they took his blood pressure.

His condition was “neither life-threatening nor life-changing” the police said at the time, and he was bailed “pending further investigation”.

Police confirmed the incident Linehan was arrested for was subsequently investigated as a non-crime hate incident.

The arrest sparked a mixture of reaction from politicians and public figures and created a debate around policing and free speech.

A month after the arrest, in October 2025, the Met announced it would no longer investigate non-crime hate incidents to allow officers to “focus on matters that meet the threshold for criminal investigations”.

The force also said it was dropping the probe into Linehan.

Non-crime hate incidents are alleged acts perceived to be motivated by hostility or prejudice towards people with certain characteristics, such as race or transgender identity.

They are recorded to collect data but do not amount to a criminal offence.

Speaking to BBC News in September, Linehan said: “I don’t regret anything I’ve tweeted – sometimes I’ve tweeted a bit more out of anger, because of the frustration that no-one’s paying attention to this issue.”

He said he was arrested over three posts on his X account.

The first post said: “If a trans-identified male is in a female-only space, he is committing a violent, abusive act. Make a scene, call the cops and if all else fails, punch him in the balls.”

His second post from X appeared to be an aerial shot of a group of protesters in a town centre, and he called it “a photo you can smell”.

The third expressed his views, in which he said “I hate them”, referring to “misogynists and homophobes”, adding an expletive.

Linehan was supported through the civil claim by the advocacy group the Free Speech Union.

The group said it welcomed the second apology and settlement, but said Linehan should not have been arrested to begin with.

Its general secretary Lord Toby Young said: “I’m beginning to lose count of the number of cases we’ve fought in which the police have arrested someone for a tweet, decided to take no further action and then had to pay them substantial compensation for wrongful arrest.

“At some point you’d think the penny would drop: police our streets, not our tweets.”

It comes two months after, in a separate case, Linehan had his conviction for damaging a transgender activist’s mobile phone overturned.

Beckett said while the show was set in Slough, it was actually filmed in a working office at Teddington Studios.

He said: “Usually you’d get a script… with this particular audition you were asked to come in in character, there was no script, and you weren’t allowed to break until Ricky had finished the audition.”

On the filming, he said: “It was so low-budget there was just a camera on the shoulder of the cameraman and that was it… so you were allowed to try things where normally on set you wouldn’t be able to do that.

“It’s such a great show, and the fact that people are talking about it 25 years later, that’s good enough for me.”

To mark the anniversary, Gervais hosted a YouTube special which shared previously untold and exclusive stories from set, and gave fans an insight into the mind of his eccentric character.

The 65-year-old comedian divulged his 25 favourite moments as incompetent office manager Brent and delved into the inspiration behind some of his most memorable lines.

Basildon, Birkenhead, Grimsby and Rotherham are among the bigger places in the running for the title of the UK’s first Town of Culture.

The 15-strong shortlist, released on Thursday by the government’s department for Culture, Media and Sport (CMS), also includes the medium-sized Corby, Great Yarmouth, Leith, Pontypridd, and Port Talbot.

Smaller places such as Ilfracombe, Isle of Bute, Lerwick, Sandown, Strabane, and Stockton Town Centre Ward round off the list.

Each place will now receive a £60,000 funding boost to develop a full bid and then three winners – best small, medium and large place – will be chosen by an independent judging panel early next year.

An overall winner from these three finalists then will be crowned the UK Town of Culture 2028 and receive a £3 million grant to host cultural events.

The two runners up will receive £250,000 each to carry out part of their programme.

The UK Town of Culture categorises towns into three specific population brackets: small towns (under 20,000), medium towns (20,000-75,000), and large towns (over 75,000).

The new competition – which has seen 15 places selected from almost 400 applications – will run alongside the UK City of Culture 2029.

Certain musicals have become part of our cultural DNA, and Annie is undoubtedly one. Since its Broadway debut in April 1977, the feelgood family favourite – based on the comic strip Little Orphan Annie – has entertained audiences around the world with a timeless story and a score packed with songs which have become musical theatre classics.

Thomas Meehan’s musical follows Annie, an optimistic orphan who dreams of finding the parents who abandoned her. Life at Miss Hannigan’s grim New York orphanage is far from idyllic, but Annie’s unwavering positivity eventually leads her into the home of billionaire Oliver Warbucks, changing the lives of everyone she meets along the way. Naturally, there are villains to outwit, misunderstandings to overcome and, ultimately, a heartwarming message that reminds us family isn’t always defined by blood.

No production of Annie succeeds without a formidable Miss Hannigan. Over the years, the role has attracted performers from the legendary Dorothy Loudon and Sheila Hancock to Craig Revel Horwood; this latest touring production sees Claire Sweeney throw herself into the role with relish. Delivering a deliciously spiteful, sharp-tongued Hannigan, she balances the character’s bitterness with enough vulnerability to avoid becoming a caricature, making her one of the production’s highlights.  

The young orphan ensemble, who carry a huge amount of responsibility in a show like this, display confidence, energy and infectious enthusiasm. During numbers like the ever-popular It’s The Hard Knock Life, their chemistry feels genuine, creating the sense of friendship and resilience that lies at the heart of Annie. From the optimistic anthem Tomorrow to Maybe, Easy Street and You’re Never Fully Dressed Without A Smile, every number is warmly received, with many audience members quietly singing along.

The production itself remains faithful to the classic musical, with colourful sets, slick choreography and period costumes transporting the audience to Depression-era New York. Director Nikolai Foster keeps the pace brisk, ensuring there is never a dull moment, while the live orchestra gives Charles Strouse’s score the richness it deserves.

At nearly five decades old, Annie’s themes of hope, resilience and optimism endure. Special mention should also go to Amber and Dizzy – the dogs who, between them, play Annie’s dog Sandy with consummate canine professionalism.

Annie, Wales Millennium Centre, Cardiff Bay, Tue 7 July
On until Sat 18 July. Tickets: £22-£84. Info: here

words ANTONIA LEVAY

Black Sabbath drummer Bill Ward has said despite needing to use a wheelchair he is not “ill or giving up” and resolved to “keep rocking until I’m dead”.

In a social media post, external he announced “somewhat sadly” that he more frequently needed to use a wheelchair “mostly in airports or public events”.

“I can still walk, let there be no doubt, but I can’t walk very far without needing to rest, meaning I need to sit down,” he said.

The 78-year-old from Birmingham is a founding member of the band, formed in the 1960s, alongside the late Ozzy Osbourne, Tony Iommi and Geezer Butler.

Under the title “something new to let you know about” he shared a photograph of himself smiling while sitting in a wheelchair.

In the post addressed to “friends, fans, families and people I’ve not met yet” he explained he started using the aid about 18 months ago.

There was no grandstanding introduction when Kyle Eastwood and his quintet take to the stage at Palladino’s. Instead, they ease comfortably into the evening: relaxed, understated and perfectly in sync from the opening notes.

This tour is a homage to the film career of Eastwood’s father Clint – a man synonymous with kickass cop Dirty Harry, Sergio Leone’s lone gunmen and, in later years, an extraordinary directorial and producing legacy. Rather than simply playing familiar themes, however, the quintet dismantle and rebuild them through jazz, funk, Latin rhythms and some exceptional improvisation.

John Williams’ score for 1975 mountain thriller The Eiger Sanction evokes an era of Cold War thrillers, The Conversation, Gene Hackman and television cops chasing villains through grubby streets. Pianist Andrew McCormack and trumpeter Quentin Collins help bring it to life in a full Technicolor soundscape.

The main theme from Clint’s 2006 film Letters From Iwo Jima, composed by Kyle Eastwood and Michael Stevens, is soft, melodic and occasionally stark, punctuated by haunting drumbeats from Chris Higginbottom. The film music of this period lends itself beautifully to tension-filled, atmospheric jazz, and the quintet know exactly when to hold back and when to let rip.Saxophonist Brandon Allen is outstanding throughout, although there’s no weak link in a band that’s tight, intuitive and clearly enjoying themselves.

Eastwood swaps his double bass for an electric bass and dons spectacles for Lalo Schifrin’s theme to Dirty Harry quasi-sequel Magnum Force; the frenetic score is transformed into something dark and funky, with the piano and trumpet conjuring images of chaotic chases through violent city streets. The mood shifts again for Gran Torino, created by Kyle, Clint and Stevens with input from Jamie Cullum. Eastwood returns to double bass for a beautiful, piano-led arrangement, its mournful melody lifted by Collins’ trumpet: restrained, reflective and one of the evening’s loveliest moments.

The film scores were joined by Caipirinha, a Latin-infused blast of Brazilian jazz, funk and soul. With shades of Brasil ‘66, plenty of brass and an expansive saxophone solo, Allen almost disappeared into the music before Higginbottom’s drums pulled everyone sharply back together.

The inevitable finale, Ennio Morricone’s theme from The Good, The Bad And The Ugly, is one of cinema’s most recognisable pieces of music, up there with those ominous two notes from Jaws. This isn’t the tense, sweat-dripping standoff of Leone’s original, though, but something faster, funkier and gloriously unrestrained. Allen loses himself in the moment, launching into a wild, joyful saxophone solo which shouldn’t work but absolutely does.

Intimate, relaxed and very cool, the Whitchurch venue proved the perfect setting for a brilliant evening in the company of five incredible musicians who play classic film scores without treating them like museum pieces. Film history, family legacy and first-rate musicianship: Kyle Eastwood and his quintet made it all look effortless.

Kyle Eastwood Quintet, Palladino’s Jazz & Blues Bar, Cardiff, Wed 8 July

Also performing at 7pm and 9pm on Thurs 9 July (sold out; check online for resales – social media links here)

words ANTONIA LEVAY photos PAUL WINDSOR

Virtual reality, expanded cinema and multisensory installations are coming to Cardiff as Wales Millennium Centre stakes its claim as one of the UK’s leading homes for immersive storytelling. Antonia Levay tells us more.

Wales Millennium Centre has long been synonymous with major theatre productions, musical premieres and world-class live performance. Increasingly, however, Cardiff Bay’s cultural landmark is looking beyond the traditional stage, embracing emerging technologies, immersive artforms and new ways of telling stories.

As audiences seek experiences that blur the boundaries between art, technology and participation, WMC is positioning itself at the forefront of a rapidly evolving creative landscape. From virtual reality cinema and multisensory installations to plans for a dedicated immersive performance venue, the venue is investing heavily in what it believes will be the future of cultural storytelling.

That vision takes a major step forward this summer with the launch of a new immersive storytelling season, bringing internationally acclaimed experiences from across the globe to Cardiff. Launching this month and running until January, the season gathers together a collection of groundbreaking works spanning virtual reality, expanded cinema, digital art and large-scale sensory installations.

Created by artists and studios whose work has appeared at multiple prestigious events – including the Venice Biennale and its associated International Film Festival, plus NYC’s annual Tribeca Festival – the programme places Cardiff firmly within an international network exploring the next generation of storytelling.

The announcement arrives at a significant moment for Wales Millennium Centre. Last month, the organisation hosted the inaugural Annwn Prize – the world’s first major award dedicated entirely to immersive storytelling, created in partnership with Crossover Labs. Looking further ahead, plans have been approved for a purpose-built immersive performance space inside the WMC, which they’re hoping will open in 2029. The venue will be the first of its kind in the UK, with capacity for 500 seated or 750 standing audience members and designed specifically for experiential and immersive work.

For David Massey, Senior Producer of Creative Technology and Storytelling at Wales Millennium Centre, the new season reflects a growing commitment to making Wales a destination for immersive culture. “Immersive storytelling is one of the most exciting creative frontiers in the world right now,” he says. “These works explore how we connect to ourselves, to each other and to the natural world through stories designed to be experienced from the inside.”

The season opens with Evolver, an acclaimed work from UK studio Marshmallow Laser Feast. Running from Thurs 23 July until Sun 30 Aug, it’s equal parts meditation, scientific exploration and sensory artwork. We the audience are invited on an extraordinary journey through the human body – narrated by Cate Blanchett, no less.

Participants follow the path of oxygen through the body’s internal ecosystem before arriving at a single breathing cell. Along the way, the experience reveals the profound connection between human life and the natural world through the simple act of breathing.

The project combines cutting-edge immersive technology with music from an impressive roster of artists – including Radiohead’s Jonny Greenwood, Jon Hopkins, Meredith Monk, Jóhann Jóhannsson and Howard Skempton. Executive producers include filmmaker Terrence Malick and legendary producer Edward R. Pressman.

From Tue 27 Oct until Sun 10 Jan, audiences will have the chance to experience FRAMERATE: Pulse Of The Earth, by artist collective ScanLAB Projects and billed as an expanded cinema experience. The work uses thousands of time-lapse scans captured across British landscapes to create a hypnotic portrait of a planet in constant flux.

Displayed across multiple screens and accompanied by an immersive soundtrack, the installation reveals patterns of erosion, growth, extraction and transformation that often remain invisible to the naked eye. Rather than delivering a straightforward environmental message, ScanLAB encourages viewers to consider the rhythms of geological and ecological time, offering a contemplative perspective on humanity’s relationship with the natural world.

Alongside these large-scale installations, Wales Millennium Centre will also launch a new VR Cinema programme, coinciding with the return of Llais festival this autumn.

Among the highlights is the Just For You Trilogy, a collection of immersive films from Taiwanese theatre-maker Craig Quintero. Bringing together three works originally shown at the aforementioned Venice and Tribeca fests, the trilogy explores memory, mortality and longing through intimate virtual reality experiences which place audiences directly inside the narrative.

The Art Of Change – created by Italian VR artist Simone Fougnier, aka Funilab, and Dutch electronic music producer DROELOE – blends music, animation and storytelling into a visually striking exploration of memory and identity. Created entirely within VR using Quill software, it showcases how virtual reality is increasingly becoming an artistic medium in its own right.

Canadian XR artist Chélanie Beaudin-Quintin’s Bodies Of Water offers another perspective, immersing audiences beneath the surface to experience a dreamlike underwater dance performance inspired by the relationship between human bodies and water.

There is also a distinctly Welsh contribution in Haunts, a VR experience from Lucy Hammond and Tom Chetwode-Barton which had its first showing in this venue in March. Set in 2006 and featuring the voice of Callum Scott Howells, who you’ll likely know from It’s A Sin among other things, the piece follows teenager Morgan as he navigates questions of identity and belonging in Llanberis. Combining archive footage, landscape imagery and music from Welsh artists including Super Furry Animals, John Cale and High Contrast, Haunts explores the collision between analogue and digital worlds at the dawn of the social media age.

Taken together, the season signals Wales Millennium Centre’s determination to become a leading hub for immersive creativity, connecting Welsh audiences with internationally significant work while helping shape what cultural experiences might look like in the decades ahead.

Evolver, Wales Millennium Centre, Cardiff Bay, Thurs 23 July-Sun 30 Aug (tickets: £10-£12.50. Info: here); FRAMERATE: Pulse Of The Earth, Tue 27 Oct-Sun 10 Jan (tickets: £5. Info: here)

words ANTONIA LEVAY