Sadler’s Wells Theatre, London.
22 October 2025.
A definite crowd-pleaser of a three-act ballet!
Coming in towards the end of Birmingham Royal Ballet (BRB)’s autumn UK tour, the run of Black Sabbath – The Ballet at Sadler’s Wells was sold out. The opening-night performance was dedicated to the memory of Ozzy Osbourne, and the comprehensive programme offered great insight into both the growth of heavy metal and Black Sabbath, and the creative process of the three choreographers commissioned to create the ballet.
Tonight, there is a relaxed, lively and varied-aged audience and BRB Artistic Director Carlos Acosta expressed his aims in producing this collaboration with Black Sabbath: “We want to take people to this higher place where they can leave with huge smiles on their faces, humming these great tunes.”
Worth noting, lead choreographer Pontus Lidberg’s commented, “What stayed with me was the warmth of the reactions, from audiences who might never otherwise have gone to a ballet, and from ballet audiences who might never have listened to Black Sabbath.”
Act One: Heavy Metal Ballet, choreographed by Raύl Reinoso, was slightly underwhelming, possibly because of the great anticipation surrounding the production. A dark stage, a low background hum building, as dancers walked forward seductively from the shadows of the back of the stage. The Guitar Spirit, played by onstage musician Marc Hayward throughout all three acts, was introduced here, and Act One featured several Black Sabbath tracks such as “War Pigs,” “Iron Man” and “Paranoid.” A mesmerising highlight was a male/female duet, who kept their lips locked for the entirety of their dance, to an orchestral cover of “Solitude.” Almost ethereal to watch, they rippled through their choreography, connected, seemingly effortlessly. A nice build followed then, to a dramatic end as dancers filled the stage performing fouetté turns – on their favourite side! – where they collapsed to the floor in blackout.
Act Two: The Band, spoke the loudest. ”12 dancers in individual clothes, and in groups of 4, metaphorically represent both young people today and the band members.”
An atmospheric start; the curtain rose to the sound of falling rain, bells chiming and rising individual lightboxes that contained symbols marking moments in the band’s history. Act Two used a lot of spoken word taken from interviews of the band members – “We were unacceptable in certain parts of the world; it was simply not acceptable to be who we were” – plus Sharon Osborne, that dancers expressed on stage.
Choreographed by Cassi Abranches, the voiceovers were warmly appreciated by the audience who chuckled and murmured agreement along. Particularly effective was a horizontal light bar, lowered to midway while a male dancer moved beneath, responding to Tony Iommi’s voice explaining the accident that saw him losing the tips of his fingers. The partner work was enjoyable and moving in this piece; their movements responding well to the voiceovers, though perhaps choreography could have facilitated even more connection.
Act Three: Everybody is a Fan, left me wanting more. Choreographed by lead choreographer and artistic director Pontus Lidberg, it had a musical theatre feel to it, including an upturned silver car which was moved around the stage by dancers. It fell a little flat because the explosion of classical ballet I was expecting to juxtapose wildly with the passionate music, didn’t happen.
Instead, the choreography stylistically went with the music. Contemporary ballet and casually dressed dancers in black tights and Black Sabbath t-shirts, fulfilled creative vision in a very entertaining piece, but arguably could have brought more contrast and passion to the stage using more classical costuming and choreography.
An appearance by Tony Iommi thrilled the audience and orchestral treatments of “War Pigs” and “Paranoid” brought the Act to a close, with very much a music concert vibe. Positive comments showed that whilst not to everyone’s taste, the production had brought plenty of fun and enjoyment.
By Louise Ryrie of Dance Informa.
