WILL STONE fact-checks the colourful life of Ozzy Osbourne
Death of a Salesman, Young Vic Theatre, London
Arthur Miller's classic gets a worthy but underpowered production
Indomitable: Sharon D Clarke
[Brinkhoff Mogenburg] 
JAMES CROSSLEY applauds a lucid biography of the German radical preacher who reemerged as a hero in the GDR
Prizes all round: the Bard hands plaudits to the Miners Gala, OT&JC, Joe Solo, Black Sabbath’s frontman and the Lionesses
Star cartoonist JAMIE BRITTON is in awe of a graphic novel of epic proportions that explores class, religion and globalisation via the strange cultivation of Ginseng in the US Midwest
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
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
THE impromptu Arthur Miller season of six of his plays performed in Britain since the start of the year culminates in this production, with an all-star cast led by Wendell Pierce of The Wire and Suits fame and directed by the multiaward-winning duo of Marianne Elliott and Miranda Cromwell.
But for all that star power this Death of a Salesman falls a little short of its sales pitch.
Anna Fleischle’s brutalist concrete set is where the cracks begin to surface. Trapping the action in such austere confines makes it difficult to imagine the mid-1940s US East Coast where Willy Loman’s life unravels and with the costumes and props so clearly located in the period it’s an anomalous contrast difficult to ignore.
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