Black Sabbath Ballet for the Converted
“Critics hated us, they still do, they don’t know what to make of us”
Toni Iommi Black Sabbath Guitarist

One of the obvious rules of ballet is that the performance should tell a story, though, of course, rules are meant to be broken. The problem with Black Sabbath – The Ballet is that there’s no compelling story to tell. The production attempts coherence by dividing the dance into three acts, but they’re not presented in linear order, and each has its own choreographer, which compounds the disjointedness.
The stage, except in the Final Act, is devoid of props—a black, featureless space where the dancers showcase their skills. Occasionally, large star-shaped objects descend from above, adorned with symbols like shiny boots and a hand holding a microphone, presumably intended to link the band to the dance.
One of the production’s strengths is the band’s music. However, being heavy metal, only a few standout tracks lend themselves to this type of performance. When those tracks are played such as War Pigs, the audience comes alive, lifting the experience for everyone.

As a general comment, this genre was beloved by Goths: black clothes, black makeup, everyone different yet somehow the same. I’m pleased to say both of my daughters emerged from that phase relatively unscathed.
The First Act Heavy Metal Ballet features a series of set-piece dances with no obvious cohesion. A young couple perform an intimate duet in the foreground, while the ensemble interacts in the background. A steady drumbeat accompanies the orchestra’s rendition of Iron Man. What surprised me, and others who commented, was that despite the ballet having toured for months, the dancers were often uncoordinated.
A clever addition throughout all Acts is a leather-clad guitarist strutting between the dancers – a tribute to the band itself. Unfortunately, this creates a problem. In the final minutes of the performance, Toni Iommi, the only founding member present, joins the performers on stage. His guitar playing is so far above what we’d heard before that we all wanted more.

The Second Act The Band adopts a different style altogether. Audio quotes from band members, living and dead, describe the band’s formation in Birmingham. All were factory workers, except Ozzy Osbourne, who worked in a slaughterhouse presumably where he developed his taste for killing bats. Again, there’s no clear link between what’s happening on stage and what we’re hearing.
The Third Act Everybody is a Fan introduces a prop: an upturned silver car with a winged demon perched on top. It serves no obvious function other than as a platform for dancers to occasionally stand on. According to the program, it’s meant to symbolize the connection between the band, heavy metal music and ballet but with limited success.
As I left, I listened to audience reactions. A minority, those familiar with the music, were delighted by what they saw. In contrast, traditionalists struggled to appreciate or enjoy the performance.

Production Notes
Black Sabbath – The Ballet
Birmingham Royal Ballet
Originally Directed by Carlos Acosta
Choreographers:
Pontus Lidberg, Raúl Reinoso, Cassi Abranches
Cast
Principals
Tzu-Chao Chou
Mathias Dingman
Samara Downs
Céline Gittens
Momoko Hirata
Yu Kurihara
Max Maslen
Miki Mizutani
Lachlan Monaghan
Beatrice Palmer
Yaoqian Shang
Creatives
Designer: Alexandre Arrechea
Lighting Designer: KJ
Composers: Christopher Austin, Sun Keting, Marko Nyberg
Sound Director: Marko Nyberg
Information
Running Time: Two hours 20 minutes with two intervals
Booking to 25th October 2025
at Sadler’s Wells
then Festival Theatre Edinburgh 30th October to 1st November 2025
Theatre:
Sadler’s Wells Theatre
Rosebery Avenue
London EC1R 4TN
Box Office: 020 7863 8000
Tube: The Angel
Website: sadlerswells.com
Reviewed by Malcolm Beckett at
Sadler’s Wells
on 22nd October 2025

