This marriage between the heavy metal pioneers Black Sabbath and classical dance may seem an unlikely prospect, but Birmingham Royal Ballet’s three-act spectacle scored a hit when it was first performed in 2023.
And the company’s revival tour, which kicked off this week, certainly went down a storm in Birmingham, where the four original band members, all working-class lads, were raised. Home town pride goes a long way. So does a climactic opening night guest appearance by Tony Iommi, legendary lead guitarist, primary composer and this show’s musical consultant.
The performance would probably still have received a standing ovation without him, although I’m not convinced it deserves one. It is, however, an undeniably bold and unabashedly commercial venture involving three choreographers and three composers, led, respectively, by the Swedish dance-maker Pontus Lidberg and the British composer/orchestrator Christopher Austin. You don’t have to be Sabbath savvy to enjoy their collaboration, though I suspect it helps.
In a brief pre-show speech, BRB’s artistic director, Carlos Acosta, dedicated the performance to Ozzy Osbourne, the band’s lead vocalist, who died in July. Osbourne features on the soundtrack of the first and weakest act, singing lyrics from the early Sabbath classic War Pigs.
But Raúl Reinoso’s choreography for 17 black-clad dancers — including Yaoqian Shang and Javier Rojas as a lovestruck couple who dance with their lips locked together, either beleaguered or mirrored by other figures — is underpowered, and the ensemble’s rudimentary moves under-rehearsed. A quick spurt of balletic razzle-dazzle arrives too late.
Javier Rojas and Yaoqian Shang are the lovestruck couple
JOHAN PERSSON
The Brazilian choreographer Cassi Abranches does better with the 14-strong cast in 1970s garb who pepperfoot through act two. Ava May Llewellyn stands out in a solo with a swagger that the show often lacks. Still, grounded by autobiographical voiceovers from band members and Sharon Osbourne, Ozzy’s widow, this act is better judged and has the most substance.
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The final act knees-up has the most breadth. Kudos, too, to dancer Riku Ito’s buoyant interaction with shaggy-haired guitarist Marc Hayward: Black Sabbath’s back catalogue lends itself to orchestral interpretation.
The Royal Ballet Sinfonia, conducted by Austin, sparkles throughout, and the production values — unimaginative costumes aside — are high. Given its source material, this ballet would benefit from a more raucous energy, but it is entertaining for all that.
★★★☆☆
130min
Hippodrome, Birmingham, to Sep 27. Tour continues to Nov 1. brb.org.uk