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Same but indifferent: Laughing Boy @JStheatre

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Stephen Unwin's Laughing Boy, adapted for the stage from Sara Ryan's Justice for Laughing Boy, is a powerful and moving story about a mother and a family that keeps asking questions despite the victimisation and harassment from the institution - the NHS - that was supposed to protect her son. It's a moving, celebratory account of a life cut short due to indifference held together by a remarkable performance by Janie Dee as Sara. It's currently playing at the Jermyn Street Theatre .  Sara's son, Connor, is a little different to others. He is fascinated by buses and doesn't like things like loud noises. But as he becomes an adult, his seizures and unexpected outbursts mean the family turn to their local NHS for support. Little did they realise they would receive such little care from a service that was institutionally incompetent and covered up thousands of unexplained deaths of people with disabilities, including Connor's. The search for answers about why he
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Beautiful at the ballet: No Place For A Woman @Theatre503

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No Place For a Woman combines music, movemement and storytelling to present a haunting tale on human emotions and the desire to survive. And that despite it all, everything really is beautiful at the ballet. It's currently at Theatre 503 . Written by Cordelia O'Neil, this two-hander brings out the fine detail of two women's lives that are intertwined during conflict. It is set in Poland at the end of the Second World War, but there is something universal about the themes that make you feel as if it could be any time or place during conflict. The premise is that as allied forces are interviewing the two women a story emerges. The wife of a prison camp commandant was throwing a party and she asks her husband to get champagne. But instead he brings home a ballet dancer from the camp. And they keep her.
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Swinging and projecting: Soho @PeacockTheatre #sohotheshow

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A journey through London's soho with its street workers, artists, drag queens and everyday people is the theme of Soho. It is a  physical movement spectacular at the Peacock Theatre for a brief run. Acrobats, dance and projections combine with a throbbing soundtrack to make for a breathtaking evening. At times there is so much going on that it's hard to know where to look. But it's a slick piece of circus artisty and projections
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The bizarre and the demented: Out There On Fried Meat Ridge Road @Trafstudios

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Out There On Fried Meat Ridge Road is a great title for a play. And it's a laugh out loud hour or so of bizarre antics. After a run in January at the White Bear Theatre it's at Trafalgar Studios . They've transformed the space into a dump of a motel and it's a fabulous experience. There are stains on the walls, mismatched furniture and endless country music. It's difficult to describe the plot without giving away some of the surprises. It opens with JD ( Keith Stevenson ). He's a friendly kind of hillbilly living in this grimy place. Mitch ( Robert Moloney ) arrives answering an ad JD's placed in the paper looking for a roommate. Mitch has lost his job, his girlfriend and his apartment and so is desperate. But he's surprised to find JD living in motel. And then arrive the neighbours. There's the cranky old Flip (Michael Wade), the owner of the motel. Then there's meth-head Marlene ( Melanie Gray ) and her hot-headed boyfriend Tommy (Alex Fer
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Needs a little more mascara: Madame Rubinstein @Parktheatre

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Madame Rubinstein at Park Theatre should be a camp romp covering the rivalry between Helena Rubinstein, Elizabeth Arden and Revlon. But instead it is a dragged out affair that has few laughs and some  unintended ones. The jokes are so stale you could think that John Misto wrote it in the 1950s rather than the present day. Miriam Margolyes as Rubinstein looks the part and has fun with the role. But in the end she can't do much with a lumbering script and odd looking production. Frances Barber as Arden is terrific as her foil, but she doesn't get much to do other than look fabulous in fur.
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Sisters doing it to themselves: Everything Between Us @Finborough

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If a playwright ever wants to get the undivided attention of the audience, opening with: "Fuck you, you fucking bitch, I'll tear your fucking eyeballs out ya cunt!" sure does the trick. And so begins an explosive 70 minutes of Everything Between Us by David Ireland. It's having it's English premiere playing in repertoire with Late Company at the Finborough Theatre . It's about the conflict in post conflict Northern Ireland and the conflict between two sisters. Both unionists and both divided. But its power lies in how it can be funny and provocative at taking aim at Northern Ireland conflict and the people caught in it.
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Trauma and light: The Braille Legacy @CharingCrossThr

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I suspect the inspiration for the musical the Braille Legacy currently playing at Charing Cross Theatre is to explore a young man's determination to read and learn. But instead we get a lot of political intrigue and some unintentionally hilarious musical moments as children disappear after medical experiments go wrong. All set to music. This is a new musical by Sébastien Lancrenon and Jean-Baptiste Saudray and translated by Ranjit Bolt. It's lush and listenable, but curiously lacking in any emotion or point.
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Smooth operator: How To Succeed in Business Without Really Trying @wiltonsmusichall

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It feels a little like a high school musical with its clunky sets and actors cast in roles too old for them. But I still found How To Succeed in Business Without Really Trying at  Wiltons Music Hall  a lot of fun. Part of its fun is the memorable performance by Marc Pickerin g as the ambitious young executive. Here you get the impression he is relying less on boyish charm and more on being sly and cunning to get ahead. Given the space of Wiltons he can look you in the eye and let you know he is out to get what he wants.  He also gives the classic songs in the show a fresh interpretation that feels as if they should be on an album.
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