WILL STONE fact-checks the colourful life of Ozzy Osbourne
The gift that keeps on giving
There are yet more delights in the ongoing season of Harold Pinter plays in London, says MARY CONWAY
Alienated: Luke Thallon and Jane Horrocks in Pinter Five
[Marc Brenner] 
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
Pinter Five and Pinter Six
Harold Pinter Theatre, London
THE JAMIE LLOYD Company’s parade of Pinter short plays and monologues, a tribute to the writer who died 10 years ago, goes from strength to strength.
Pinter Five, directed by Patrick Marber, begins with The Room, the playwright’s first-ever work from 1957. With its miserable gas fire, filthy windows, drab functionality, fearful anonymity and menace, it’s disturbingly evocative of the period.
The play’s tension never falters as Rose (Jane Horrocks) and her husband (Rupert Graves) fail to communicate — she through a torrent of continuous gabble, he through a persistent and threatening silence.
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