John Osborne

Oh, heavens, how I long for a little ordinary human enthusiasm. Just enthusiasm—that's all. I want to hear a warm, thrilling voice cry out 'Hallelujah! Hallelujah. I'm alive!'

Though Alison Porter in Look Back in Anger was based on Pamela, Osborne describes Lane's respectable middle-class parents – her father a successful draper, her mother of a family of minor rural gentry – as "much coarser" and how at one point they hired a private detective to follow him after a fellow actor was seen 'fumbling' with his knee in a teashop. Though he admits that it was true at least that the actor in question did have a homosexual crush on him.

In 2008, the Ransom Center purchased an additional archive of over 30 boxes that had been held by Helen Dawson Osborne. While largely focusing on the latter years of Osborne's life, the collection also includes a series of notebooks that he had kept separately from his original archive.

His wives and lovers were not always kept apart, either. In his 2006 biography, John Heilpern describes at length a holiday in Valbonne, France, in 1961, that Osborne shared with Tony Richardson, a distraught George Devine, and others. Feigning bafflement over the romantic entanglements of the time, Heilpern writes:

Osborne died deeply in debt; his final word to Dawson was: "Sorry". After her death in 2004, Dawson was buried next to Osborne.

In 1993, a year before his death, Osborne wrote that the opening night was "an occasion I only partly remember, but certainly with more accuracy than those who subsequently claimed to have been present and, if they are to be believed, would have filled the theatre several times over". Reviews were mixed. Most of the critics who attended the first night felt it was a failure, and it looked as if the English Stage Company was going to go into liquidation. Milton Shulman in the Evening Standard, for example, called the play "a failure" and "a self-pitying snivel". But the following Sunday, Kenneth Tynan of The Observer – the most influential critic of the day – praised it to the skies: "I could not love anyone who did not wish to see Look Back in Anger", he wrote, "It is the best young play of its decade". Harold Hobson of The Sunday Times called Osborne "a writer of outstanding promise". During production the married Osborne began a relationship with Mary Ure, and would divorce his wife, Pamela Lane, to marry Ure in 1957.

His last play was Déjàvu (1991), a sequel to Look Back in Anger. Various newspaper and magazine writings appeared in a collection entitled Damn You, England (1994), while the two volumes of autobiography were reissued as Looking Back – Never Explain, Never Apologise (1999).

After a serious liver crisis in 1987, Osborne became diabetic, injecting insulin twice a day. He died in 1994 from complications from his diabetes at the age of 65 at his home in Clunton, near Craven Arms, Shropshire. He is buried in St George's churchyard, Clun, Shropshire. His last wife, Helen Dawson, who died in 2004, is buried next to him.

In his latter years Osborne published two remarkably frank volumes of autobiography, A Better Class of Person (Osborne, 1981) and Almost a Gentleman (Osborne, 1991). A Better Class of Person was filmed by Thames Television in 1985, featuring Eileen Atkins and Alan Howard as his parents, and Gary Capelin and Neil McPherson as Osborne. It was nominated for the Prix Italia. At his memorial service in 1995, a playwright of the next generation, David Hare, said:

Throughout the 1980s Osborne played in his real life the role of Shropshire squire with great pleasure and a heavy dose of irony. He wrote a diary for The Spectator. He opened his garden to raise money for the church roof, from which he threatened to withdraw covenant-funding unless the vicar restored the Book of Common Prayer (he had returned to the Church of England in about 1974).

Osborne described visiting her after she had left him and having sex with her while she was pregnant with the first of four children she would bear to Shaw. Of their divorce, Osborne wrote of being surprised that she repeatedly refused to return to him treasured postcards drawn for him by his father but is circumspect at her suicide in 1975.

During that decade Osborne made his best-remembered acting appearance, lending gangster Cyril Kinnear a sense of civil menace in Get Carter (1971). Later, he appeared in Tomorrow Never Comes (1978), as an actor, and Flash Gordon (1980).

Osborne had a turbulent nine-year marriage to the actress Jill Bennett, whom he came to loathe. Their marriage degenerated into mutual abuse and insult with Bennett goading Osborne, calling him "impotent" and "homosexual" in public as early as 1971. This was cruelty which Osborne reciprocated, turning his feelings of bitterness and resentment about his waning career onto his wife. Bennett's suicide in 1990 is generally believed to have been a result of Osborne's rejection of her. He said of Bennett, "She was the most evil woman I have come across", and showed open contempt for her suicide.

John Osborne's plays in the 1970s included West of Suez which starred Ralph Richardson, A Sense of Detachment, first produced at the Royal Court in 1972, and the disappointing Watch It Come Down, first produced at the National Theatre, starring Frank Finlay.

Both A Patriot For Me and The Hotel in Amsterdam (1968) won Evening Standard Best Play of the Year awards. The latter play features three showbiz couples in a hotel suite, having fled a tyrannical and unpleasant movie producer, referred to as "K.L." John Heilpern confirms the rumour that "K.L." was in fact a portrait of Tony Richardson, seen through Osborne's eyes. Laurie, a screenwriter, a role created by Paul Scofield, is a self-portrait: Osborne at mid-career.

Luther, depicting the life of Martin Luther, the archetypal rebel of an earlier century, was first performed in 1961; it transferred to Broadway and won Osborne a Tony Award. Inadmissible Evidence was first performed in 1964. In between these plays, Osborne won an Oscar for his 1963 screenplay adaptation of Tom Jones. A Patriot for Me (1965) drawing on the Austrian Redl case, is a tale of turn-of-the-century homosexuality and espionage which helped to end (along with Saved by Edward Bond) the system of theatrical censorship under the Lord Chamberlain.

Osborne began placing his papers at the Harry Ransom Center at the University of Texas in Austin in the 1960s, with additions made throughout his life and by relatives in the years after his death. The primary archive is over 50 boxes and includes typescripts and manuscripts for all of his works, correspondence, newspaper and magazine articles, scrapbooks, posters, programmes, and business documents.

The play became an enormous commercial success, transferring to the West End and Broadway,and touring to Moscow. A film version was released in May 1959 with Richard Burton and Mary Ure in the leading roles. The play turned Osborne from a struggling playwright into a wealthy and famous angry young man and won him the Evening Standard Drama Award as the most promising playwright of 1956.

Osborne followed The Entertainer with The World of Paul Slickey (1959) a musical that satirizes the tabloid press, the unusual television documentary play A Subject of Scandal and Concern (1960), and the double bill Plays for England, comprising The Blood of the Bambergs and Under Plain Cover (1962).

Osborne joined the Campaign for Nuclear Disarmament in 1959. Later he drifted to the libertarian, unorganized right, considering himself "a radical who hates change".

Miller found the play revelatory, and they went backstage to meet Osborne. Olivier was impressed by the American's reaction, and asked Osborne for a part in his next play. John Heilpern suggests the great actor's about-face was due to a midlife crisis, Olivier seeking a new challenge after decades of success in Shakespeare and other classics, and fearful of losing his pre-eminence to this new kind of theatre. George Devine, artistic director of the Royal Court, sent Olivier the incomplete script of The Entertainer (1957, film version released in 1960) and Olivier initially wanted to play Billy Rice, the lead character's decent elderly father. On seeing the finished script, he changed his mind and took the central role as failing music-hall performer Archie Rice, playing to great acclaim both at the Royal Court and then in the West End.

Osborne was one of the first writers to address Britain's purpose in the post-imperial age. During his peak (1956–1966), he helped make contempt an acceptable onstage emotion.

The Entertainer uses the metaphor of the dying music hall tradition and its eclipse by early rock and roll to comment on the moribund state of the British Empire and its eclipse by the power of the United States, something flagrantly revealed during the Suez Crisis of November 1956 that elliptically forms the backdrop to the play. An experimental piece, The Entertainer was interspersed with music hall performances. Most critics praised the development of an exciting writing talent:

Osborne began a relationship with Ure shortly after meeting her when she was cast as Alison in Look Back in Anger in 1956. The affair swiftly progressed; and the two moved in together in Woodfall Road, Chelsea. He wrote later:

This was in the summer of 1955 and Osborne spent much of the next two years before their divorce hoping they would reconcile. In 1956, after Look Back in Anger had opened, Osborne met her at the railway station in York, at which meeting she told Osborne of her recent abortion and enquired after his relationship with Mary Ure, of which she was aware. In April 1957, Osborne was granted a divorce from Lane, on the grounds of his adultery. It later emerged that in the 1980s, Lane and Osborne corresponded frequently and met in secret before he became angered by her request for a loan.

After school, Osborne went home to his mother in London and briefly tried trade journalism. A job tutoring a touring company of junior actors introduced him to the theatre. He soon became involved as a stage manager and acting, joining Anthony Creighton's provincial touring company. Osborne tried his hand at writing plays, co-writing his first, The Devil Inside Him, with his mentor Stella Linden, who then directed it at the Theatre Royal in Huddersfield in 1950. In June 1951 he also married Pamela Lane. His second play Personal Enemy was written with Anthony Creighton (with whom he later wrote Epitaph for George Dillon staged at the Royal Court in 1958). Personal Enemy was staged in regional theatres before he submitted Look Back in Anger.

Thomas Osborne died in 1941, leaving the young boy an insurance settlement which he used to finance a private education at Belmont College, a minor public school in Devon. He entered the school in 1943, but was expelled in the summer term of 1945, after whacking the headmaster, who had struck him for listening to a forbidden broadcast by Frank Sinatra. A School Certificate was the only formal qualification he acquired, but he possessed a native intelligence.

Helen Dawson (1939–2004) was a former arts journalist and critic for The Observer. This final marriage of Osborne's, which lasted until his death, seems to have been Osborne's first happy union. Until her death in 2004, Dawson worked tirelessly to preserve and promote Osborne's legacy.

In 1935 the family moved to the north Surrey suburb of Stoneleigh, near Ewell, in search of a better life, though Osborne would regard it as a cultural desert – a schoolfriend declared subsequently that "he thought [we] were a lot of dull, uninteresting people, and probably a lot of us were. He was right." He adored his father and hated his mother, who he later wrote taught him "The fatality of hatred … She is my disease, an invitation to my sick room", and described her as "hypocritical, self-absorbed, calculating and indifferent."

John James Osborne (12 December 1929 – 24 December 1994) was an English playwright, screenwriter and actor, known for his excoriating prose and intense critical stance towards established social and political norms. The success of his 1956 play Look Back in Anger transformed English theatre.

Osborne was born on 12 December 1929 in London, the son of Thomas Godfrey Osborne, a commercial artist and advertising copywriter of South Welsh extraction, and Nellie Beatrice Grove, a Cockney barmaid.