A heavy metal ballet that is a fan-pleasing tribute.Rating
Good!
The auditorium is dark, the unmistakable voice of Ozzy Osbourne booms through Sadler’s Wells, and it is clear this is definitely not your typical night at the ballet.
Following the recent death of Black Sabbath’s frontman, Ozzy Osbourne, Birmingham Royal Ballet’s revival of its 2023 piece, Black Sabbath – The Ballet, has never felt more timely. Self-titled as “the first true heavy metal ballet experience”, Black Sabbath is a daring and exciting piece, with choreography by three different voices, led by Pontus Lidberg.
It feels like fans are at the heart of this project, and if you love the music of Black Sabbath, you’ll love the production. It’s a bold and exciting step that’s bringing ballet to new audiences, making the art form feel more accessible, relevant, and modern. It features some of the band’s biggest hits, such as ‘War Pigs’, ‘Paranoid’ and ‘Sabbath Bloody Sabbath’ and fans in the audience at Sadler’s Wells erupted when the band’s guitarist, Tony Iommi, appeared onstage at the end.
The first act, Heavy Metal Ballet, choreographed by Raúl Reinoso, is chock-full of rounded backs and Balanchine-esque claws, with the company all clad in black leotards being overtaken by some ethereal higher power. It feels a bit rough cut, with the ensemble of dancers never falling into rhythm with one another. The choreography doesn’t feel fully embodied by the dancers, and despite being created for this company, it feels somewhat ill-suited to their collective style and movement quality.
The pas de deux during this first act, performed by Yaoqian Shang and Javier Rojas, is an interesting concept, the two locking lips and remaining so throughout the piece, intertwining, performing various lifts and holds; a love too strong to let go. The pair evidently display brilliant classical technique, but again, it does not feel in the right realm of choreography for this company.
The second half, The Band, choreographed by Cassi Abranches, really picks up the pace and feels earthy, with dancers moving to the voices of the band in various interview clips. The ensemble is together and at home in their movements; it is grounded and natural. It feels more personal – about the members of the band, with various dancers embodying them and their thoughts. A solo performed by Ava May Llewellyn really catches the eye; she is striking and expressive, as she fiercely portrays the inner thoughts of Osbourne.
The third act feels epic. Named Everybody is a Fan, it focuses on their legacy and is the starkest fusion of classical and heavy metal. The choreography by Lidberg is placed and deliberate, with several pas de deux interlacing with impressive lifts and jumps; this is the most classically led part of the evening, where dance is concerned.
As always, Birmingham Royal Ballet are accompanied by the Royal Ballet Sinfonia, conducted wonderfully by Christopher Austin, with Marc Hayward on guitar, together bringing the house down.
Black Sabbath – The Ballet is a mixed bag choreographically, but is sure to be a favourite with fans. Its lighting and musical fusion provide a spectacle that is wonderful to behold. This is a crowd-pleaser and feels like a fitting tribute to the heavy metal legends.
Director: Carlos Acosta
Original Music: Black Sabbath
Music Consultant: Tony Iommi
Lead Composer & Project Music Supervisor: Christopher Austin
Lead Choreographer & Artistic Director: Pontus Lidberg
Dramaturg: Richard Thomas
Designer: Alexandre Arrechea
Lighting Designer: K.J.
Sound Production & Design: Joshua Blair
Metal Curator: Lisa Myer
Choreography: Raúl Reinoso, Cassi Abranches & Pontus Lidberg
Black Sabbath – The Ballet plays at Sadler’s Wells until Saturday October 25
before transferring to the Festival Theatre, Edinburgh, until Saturday November 1
