A thrilling and inventive fusion of metal and ballet that showcases stunning choreography, powerful music, and a bold tribute to Birmingham
I went along to see Black Sabbath – The Ballet at the Lowry and honestly, it is unlike anything I have ever seen in a theatre before. I have been to a fair few ballet shows and plenty of gigs too, but this was a proper mash-up of the two worlds and it worked brilliantly. Carlos Acosta and the Birmingham Royal Ballet have really pushed things into completely new territory with this one, and it is obvious everyone involved put everything into making it spectacular.
From the moment the lights went down, the energy in the theatre was electric. The first act hits you with that iconic Black Sabbath sound, the Royal Ballet Sinfonia pumping through the theatre while dancers move across the stage with such precision it almost makes you forget the music is metal. There is something mesmerising about seeing these incredibly trained dancers interpreting songs like Paranoid and Iron Man. There are moments where the choreography literally reflects the riffs and drum beats. One of the most memorable things for me was seeing a guitarist lifted high into the air by dancers while playing. It is the kind of theatrical flair that makes you think that this is definitely different from anything else you will see on a stage.
The staging was impressive, simple in parts but clever where it needed to be. There is a section with a couple locked in an endless kiss while the backdrop of an industrial factory reminds you of the city’s heritage and the band’s own roots. It is dark, dramatic, and the dancers really commit to it in a way that feels raw and emotional without going over the top. You can see three distinct groups of dancers, each bringing something unique. Some are more traditional, some contemporary, and others almost experimental. Watching them interact is like seeing three different takes on what the music can mean.
The second act took me by surprise. I was not expecting to learn so much about the band alongside the performance. The pre-recorded voiceovers from Ozzy, Sharon, and Tony Iommi give the production real narrative weight, from the hilarious confessions about crazy spending habits to the more harrowing moments like Tony’s injury in the welding factory. It gives the whole ballet a depth that makes you feel more connected to the music and the people behind it, not just entertained.
I have to say the finale blew me away. A demon perched on a wrecked car holding drumsticks while dancers moved around in almost chaotic harmony felt completely over the top in the best possible way. Throw in live renditions of War Pigs and Paranoid and you have a theatre experience that is loud, proud, and unapologetically heavy. It is rare that a production can appeal to both metal fans and ballet fans alike, but this manages it effortlessly.
I loved that this was a tribute not just to Black Sabbath, but to Birmingham itself. The city’s influence is woven into the choreography and the music, which gives it a sense of place that makes it feel very authentic. The dancing was flawless, the staging imaginative, and the whole production radiates energy and skill. If you want something bold, inventive, and completely unlike anything else, this is the one to see.