An incredible production which bridges the gap between heavy metal and ballet with power
Black Sabbath. Powerful guitar riffs, thunderous drums, leather jackets and studs. The fathers of Metal. Ballet… admittedly I don’t know all that much about ballet, but what comes to mind is graceful arching movements, tutus, pointe shoes and Swan Lake. Now, Black Sabbath and ballet. You wouldn’t put the two of these together, right? But Carlos Acosta (director) and the creative company behind this production have pulled it off magnificently. Inspired by Black Sabbath’s legacy, Acosta approached Tony Iommi, the band’s guitarist and lead composer. They collaborated closely with the Birmingham Royal Ballet’s creative team to bring this unique production to fruition.
Black Sabbath is separated into three acts, each with a different choreographer. Re-imagined full orchestrations of Black Sabbath’s work are blasted into the theatre, all performed live by the Royal Ballet Sinfonia. Christopher Austin, lead composer, and his team craft powerful riffs, seamlessly integrating them into a broader soundtrack made up of a combination of some of the band’s most famous tracks – War Pigs, Iron Man, Planet Caravan and Sabbath Bloody Sabbath just to name a few. A cacophony of brass and strings intertwine with the songs, punctuated by expressive drums. The result is deeply affecting, creating a tense, exciting atmosphere. Occasionally a melody is pulled out, performed live on stage by guitarist Marc Hayward.
The opening sets an ominous tone as ballerinas gracefully emerge through the darkness and dry ice. The lighting encompasses the essence of the show: paranoia, darkness, metal. Then we are launched into the action.
Raúl Reinoso’s choreography is an impressive thing to behold. The skill of each member of the company is undeniable, however I felt that in some of the group sequences the dancers didn’t quite let go of their trained composure and grace enough to fully embrace the heaviness of the music.
A truly standout moment occurred in Act I: Heavy Metal Ballet. A captivating sequence involving two dancers sharing a never-ending kiss, gracefully intertwining and circling each other to a reimagined rendition of Iron Man. This was a mesmerising and intimate display of movement, and honestly might be my favourite moment from the entire production. Raúl Reinoso’s choreography alternates between such emotive duets and energetic group scenes before culminating in a live-gig inspired piece where guitarist Marc Hayward engages with the ‘fans’, as each dancer breaks away to individually showcase their skills.
Cassi Abranches takes the spot as lead choreographer for Act II: The Band. Soloists take turns to dance to snippets of interviews with band members and Sharon Osnourne. Now the movements are more expressive and contemporary, matching the tempo and tone of each voiceover and story. We hear the tale of the band’s humble, working class origins and their rise to fame. Iommi tells us of how he lost his fingertips and had to re-learn guitar after a factory accident, and Osbourne jokes about outrageous cocaine bills that totalled more than one album’s recording bill. At times the choreography starkly contrasts the narrative – a tender duet underscores talk of trashing hotel rooms. Somehow, it just works.
Act III: Everybody is a Fan is choreographed by Pontus Lidberg. This final act celebrates Black Sabbath’s legacy as the fathers of Heavy Metal, it celebrates the fans, and how the music brings people together. Ballerinas don band t-shirts and dance complex steps in unison. Hayward makes a return with his guitar and fans roll in on record-shaped blocks, building a stage around him. A massive metal sculpture of an up-turned car on top of which Black Sabbath’s iconic winged devil proudly stands dominates the back-centre stage.
This show is explosively theatrical in all forms, from the music and the choreography to the set design and lighting. It’s unique, powerful, a must see, capturing the essence of Black Sabbath and their music. To top it all off, none other than Sabbath’s very own Tony Iommi gave us a special one-off appearance for the finale. Honestly, it was unreal.