Birmingham Hippodrome- until 27th September 2025
Reviewed by Emma Millward
5*****
Walking into Birmingham Hippodrome’s auditorium for Black Sabbath – The Ballet conjured up a wide range of emotions and expectations. I was excited to finally see the show I’d heard so much about since its world premiere in 2023, and to see what the Birmingham Royal Ballet had created by bringing Ballet and the heavy metal music of local heroes Black Sabbath together. In light of the recent passing of Ozzy Osbourne and the worldwide outpouring of grief that followed, the show has taken on a new meaning for the audience, becoming an artistic homage to a life lived so loud, so vivid, and a person so loved and sadly missed.
The show consists of three acts. Act 1, ‘Heavy Metal Ballet’, choreographed by Raul Reinoso, delves into the history of Black Sabbath, Heavy Metal music and the industrial factory background that influenced it. This act sets the tone for the entire show, featuring classic Sabbath songs such as ‘War Pigs’ and ‘Paranoid’ given live orchestral renditions. Marc Hayward joined the first ensemble as Guitar Spirit. He not only plays guitar, but he also plays it while being held aloft by the dancers. Minimal staging was used and the stage was mostly dark, albeit for light boxes displaying iconic images representing Black Sabbath. This act also features a hauntingly beautiful pas de deux entitled ‘The Eternal Kiss’, where two dancers remain locked in a kiss throughout, until the metal factory call to work finally breaks their embrace. This dance was a quiet, more reflective moment in a loud and lively show.
Act 2: ‘The Band’, choreographed by Cassi Abranches, delves more into the formation of the band, using voice overs from the band and Sharon Osbourne recounting the mayhem of being in one of the most infamous bands in the world. They reminisce about events that led to their distinctive sound, such as the band’s guitarist, Tony Iommi’s horrific workplace injury to his hand that he overcame. The backdrop represented the strings of a guitar as the dancers moved across the stage, seeming to represent the notes being played on the guitar. Throughout this section, the dancers dance in response to the voiceovers. We heard Ozzy’s musings on the workings of his brain as a female dancer performed a solo depicting the inner demons Ozzy felt. We also saw flashes of the band’s devilish mascot in the background, which returns in the final act.
Act 3: ‘Everybody is a Fan’, choreographed by Pontus Lidberg focuses on the band’s legacy and how their fans continue to feel about them. The dancers returned in bright coloured Sabbath T-shirts, a stark contrast to the darkness seen throughout the rest of the show. As the demon figure reappears atop an upturned car, The Guitar Spirit returns and moves and sways alongside the dancers, becoming part of the dance himself. As the entire company took to the stage, the orchestra began to merge Sabbath songs, slowly building to a crescendo, as the iconic opening chords of ‘Paranoid’ rang out once more. Tony Iommi appeared as the opening night’s special guest, much to the delight of the audience.
Although there are too many dancers to name individually, Birmingham Royal Ballet company as a whole, and Director Carlos Acosta have crafted a fantastic piece of art that has made Ballet more accessible to everyone, whether a fan or not. It attracts people who may never have considered attending before. Black Sabbath – The Ballet is an innovative and emotional tribute that finds an unexpected harmony between metal and dance, and is a must-see!!