WILL STONE fact-checks the colourful life of Ozzy Osbourne
Snowflake, Kiln Theatre London
Mike Bartlett's Christmas cracker an antidote for post-election blues
ON NEUTRAL GROUND: Elliot Levey and Amber James in Snowflake
[Manuel Harlan] 
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
THERE was a danger that the restaging of Mike Bartlett’s Snowflake could suffer from a sense of outdated despondency, focusing as it does on the familial tensions resulting from the EU referendum.
But, a year on from its initial outing at Oxford’s Old Fire Station, its healing power remains undiminished and it finds new resonance as the toxic dust of the latest vote begins to settle.
Its first half is wholly devoted to the twitchy self-loathing of the lonely forty-something Andy (Elliot Levey), who has evidently not recovered from losing his wife to cancer and has resorted to blaming the “creeping collapse of human dignity” for the estrangement of his daughter Maya (Ellen Robertson).
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