WILL STONE fact-checks the colourful life of Ozzy Osbourne
Subtle subversion
SUSAN DARLINGTON sees a nuanced reinterpretation of Beauty and the Beast as a feminist fable
[Emma Kauldhar] 
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
TORO: Beauty and the Bull
Stanley and Audrey Burton Theatre, Leeds/Touring
THE DENADA dance theatre company is an international group of dancers, most of whom are of Hispanic or Latino descent and their mission is to promote cultural, gender and sexual equality and diversity through a unique mix of contemporary dance, classical ballet, flamenco and Latino dance.
Thus it proves in TORO: Beauty and the Bull. Feminist re-readings of fairytales are now well established, but the company pushes the boundaries further by transforming the fairytale Beauty And The Beast into a a dystopian moral narrative for other oppressed groups.
It opens in a prostitute’s parlour, with four men fighting for the attentions of The Girl (Emma Walker). Indifferent to how they use her body, they pull her across the stage and hump her as she lies inert, making bored seductive gestures to the Latino music.
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