Ooof. Almost here. There. The first preview of Laughing Boy is tomorrow. Updates about production progress and the sharing of gems of film and music magic projections continue. A family whatsapp jibber ujabber earlier sparked a playlist of Connor’s favourite songs for when audience members take their seats. Another tumble into joyful memories. The bus trip from Oxford tomorrow afternoon will include Connor’s favourite sarnies; cheese and pickle and sandwich spread [don’t judge]. Among the audience will be Connor’s babysitter Izzy, and two of his teaching assistants Sue and Jude, as well as family, friends and campaigners. Funny exchanges with the theatre box office as Penny Horner cheerfully juggles our chaotic ticket sales, returns and more. The #JusticeforLB quilt will be on display at St James’s, Piccadilly for the next five weeks.

I still blink in awe at the insights this gig offers. It seems like the (cosy?) 4 weeks in the rehearsal room has a ritual ‘ending’ (last Saturday) when a van picks up traces/props and moves the team to the theatre for the final few days of rehearsals. The set designer, video creative, composer and music designer move in with tech gear and spend 12 hour days working, with the cast in out in out, costumes on and shake it all about, to a final dress rehearsal tomorrow afternoon. Wincingly sharp timelines seem to be calmly absorbed by everyone.

Work. Expertise, absorption, creativity. Commitment.

Media coverage has continued with thoughtful contributions from John Harris in the Guardian and Victoria McDonald on Channel 4 News. Re-watching the Sloven director being carefully questioned by Victoria McDonald in a news clip from the end of Connor’s inquest was quite something. Nearly nine years on it offers brutal clarity around the absurdity and ignorance of those involved who should have known better and done better.

This coverage led to several people getting in touch. People who have experienced ‘similar’ failings, old friends, acquaintances and colleagues, names and faces from the distant past before life took a turn. People involved in the campaign. A warm wash of well wishes. [Thank you.]

The play is, as Steve Unwin has consistently said, political. It highlights wider systemic failings that should be the making of scandal and action. Over and over again. Following on from The Lonely Londoners, the play will, through its writing, direction, design and execution make audiences (and those involved in the production) take notice, think and question. As we all should.

Right now though, I’m thinking about this…