• ‘We’ll see how I feel in practice,’ says world No 2

• McIlroy hampered by back injury before Players Championship

Rory McIlroy will weigh up whether to play another event before the defence of his Masters title next month after an underwhelming outing at the Players Championship. He was the defending champion at TPC Sawgrass, but his preparation was hampered by a back injury and he finished in a disappointing tie for 46th o n Sunday.

“I’ll see how my body feels,” said the world No 2. “We’ll see how I feel in practice and at home and if I get itchy feet at home maybe add an event at some point.

• ‘We’ll see how I feel in practice,’ says world No 2

• McIlroy hampered by back injury before Players Championship

Rory McIlroy will weigh up whether to play another event before the defence of his Masters title next month after an underwhelming outing at the Players Championship. He was the defending champion at TPC Sawgrass, but his preparation was hampered by a back injury and he finished in a disappointing tie for 46th o n Sunday.

“I’ll see how my body feels,” said the world No 2. “We’ll see how I feel in practice and at home and if I get itchy feet at home maybe add an event at some point.

• ‘We’ll see how I feel in practice,’ says world No 2

• McIlroy hampered by back injury before Players Championship

Rory McIlroy will weigh up whether to play another event before the defence of his Masters title next month after an underwhelming outing at the Players Championship. He was the defending champion at TPC Sawgrass, but his preparation was hampered by a back injury and he finished in a disappointing tie for 46th o n Sunday.

“I’ll see how my body feels,” said the world No 2. “We’ll see how I feel in practice and at home and if I get itchy feet at home maybe add an event at some point.

Prisons minister says more women should be diverted away from jail – and new board aims to bring about that change

Pat had been in trouble with the police before, when she was 16 and had been spat out of the care system with no qualifications, no housing and no support. Nearly 50 years later, she heard a knock on the door again.

There had been a fire in the estate where she lived, and another resident said she had seen Pat start it. “I was in the police station for nearly two days before I got to the magistrates court,” she said, worrying one finger over the top of her hand. “The magistrate said he was sending it to the crown court, and sending me to prison, basically.”

Prisons minister says more women should be diverted away from jail – and new board aims to bring about that change

Pat had been in trouble with the police before, when she was 16 and had been spat out of the care system with no qualifications, no housing and no support. Nearly 50 years later, she heard a knock on the door again.

There had been a fire in the estate where she lived, and another resident said she had seen Pat start it. “I was in the police station for nearly two days before I got to the magistrates court,” she said, worrying one finger over the top of her hand. “The magistrate said he was sending it to the crown court, and sending me to prison, basically.”

Prisons minister says more women should be diverted away from jail – and new board aims to bring about that change

Pat had been in trouble with the police before, when she was 16 and had been spat out of the care system with no qualifications, no housing and no support. Nearly 50 years later, she heard a knock on the door again.

There had been a fire in the estate where she lived, and another resident said she had seen Pat start it. “I was in the police station for nearly two days before I got to the magistrates court,” she said, worrying one finger over the top of her hand. “The magistrate said he was sending it to the crown court, and sending me to prison, basically.”

Palais Garnier, Paris
Jessica Wright and Morgann Runacre-Temple’s Arena spills off the stage while Morau’s equally audacious Étude has balletic body snatchers

What a joy to find Jessica Wright and Morgann Runacre-Temple given full run of the grandiose Palais Garnier. The sparky duo from London, known as Jess and Morgs , bring their audacious blend of choreography and live camerawork to a gripping new creation, Arena, with video design by Jakub Lech. It peaks with a bravura sequence in which Loup Marcault-Derouard leaves the stage and is seen on a huge screen, racing around the opera house’s imposing halls and staircase. Arena gives the sense of choreographers in a candy store, seizing the real estate newly available to them after their hit, tech-centric reboot of Coppélia for Scottish Ballet in 2022 .

The piece opens with understated, percussive coolness and shades of A Chorus Line – an athletic squad limber up with individual and collective confidence. “Next please!” barks the voiceover and a camera operator glides down the queue, capturing beady eyes, beating chests, glistening sweat. In the age of Instagram, dancers are ever-ready for their closeups and here the port de bras frequently results in tightly framed faces – but Arena exposes the perils of chronically online culture and the urge to compete, compare and conform. There is a gladiatorial element to Annemarie Woods’ costumes yet this is a dystopian contest that also feels rooted in the present day.

Palais Garnier, Paris
Jessica Wright and Morgann Runacre-Temple’s Arena spills off the stage while Morau’s equally audacious Étude has balletic body snatchers

What a joy to find Jessica Wright and Morgann Runacre-Temple given full run of the grandiose Palais Garnier. The sparky duo from London, known as Jess and Morgs , bring their audacious blend of choreography and live camerawork to a gripping new creation, Arena, with video design by Jakub Lech. It peaks with a bravura sequence in which Loup Marcault-Derouard leaves the stage and is seen on a huge screen, racing around the opera house’s imposing halls and staircase. Arena gives the sense of choreographers in a candy store, seizing the real estate newly available to them after their hit, tech-centric reboot of Coppélia for Scottish Ballet in 2022 .

The piece opens with understated, percussive coolness and shades of A Chorus Line – an athletic squad limber up with individual and collective confidence. “Next please!” barks the voiceover and a camera operator glides down the queue, capturing beady eyes, beating chests, glistening sweat. In the age of Instagram, dancers are ever-ready for their closeups and here the port de bras frequently results in tightly framed faces – but Arena exposes the perils of chronically online culture and the urge to compete, compare and conform. There is a gladiatorial element to Annemarie Woods’ costumes yet this is a dystopian contest that also feels rooted in the present day.

Palais Garnier, Paris
Jessica Wright and Morgann Runacre-Temple’s Arena spills off the stage while Morau’s equally audacious Étude has balletic body snatchers

What a joy to find Jessica Wright and Morgann Runacre-Temple given full run of the grandiose Palais Garnier. The sparky duo from London, known as Jess and Morgs , bring their audacious blend of choreography and live camerawork to a gripping new creation, Arena, with video design by Jakub Lech. It peaks with a bravura sequence in which Loup Marcault-Derouard leaves the stage and is seen on a huge screen, racing around the opera house’s imposing halls and staircase. Arena gives the sense of choreographers in a candy store, seizing the real estate newly available to them after their hit, tech-centric reboot of Coppélia for Scottish Ballet in 2022 .

The piece opens with understated, percussive coolness and shades of A Chorus Line – an athletic squad limber up with individual and collective confidence. “Next please!” barks the voiceover and a camera operator glides down the queue, capturing beady eyes, beating chests, glistening sweat. In the age of Instagram, dancers are ever-ready for their closeups and here the port de bras frequently results in tightly framed faces – but Arena exposes the perils of chronically online culture and the urge to compete, compare and conform. There is a gladiatorial element to Annemarie Woods’ costumes yet this is a dystopian contest that also feels rooted in the present day.