MAYER WAKEFIELD applauds Rosamund Pike’s punchy and tragic portrayal of a multi-tasking mother and high court judge
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Best of 2019: Theatre
STANDOUT: BAC Beatbox Academy's Frankenstein
[Joyce Nicholls] 
FIONA O CONNOR recommends an unflinching depiction of child sexual abuse and its aftershocks, set in a working-class Liverpool family
New releases from Paul Weller, Wet Leg, and Dino Saluzzi
PAUL DONOVAN relishes the spectacle of a 1950s detective in pursuit of a 500-year-old murder mystery
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
GUILLERMO THOMAS is intrigued by a history of the Middle East that demonstrates how promising post colonial beginnings were snuffed out by Western imperialist interests
ANY round-up of theatre productions can throw up some strange bedfellows. This year's harvest is no different, highlighting the wonderful diversity of performers and themes on show in the last 12 months.
The Edinburgh Festival provided a cornucopia of live theatre, from the banal to the brilliant. Among the 63 countries represented in 753 shows, BAC Beatbox Academy's Frankenstein: How to Make a Monster stood out.
Six youngsters blew audiences away with a dynamic reinvention of Mary Shelley's classic which tackled contemporary social issues. Conceived as a "live concept album," the thrilling vocal soundscape, ranging from slick beatboxing and original rap numbers to haunting, soulful harmonies was inventive and mesmerising.
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SIMON PARSONS is taken by a thought provoking and intelligent play performed with great sensitivity
SIMON PARSONS is gripped by a psychological thriller that questions the the power of the state over vulnerable individuals
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
