Ballet – Black Sabbath review: Ozzy Osbourne’s music brings new fans to ballet

The dancers fizz with energy and obviously enjoy every moment of this challenging work – such a far cry from their usual diet of the classics. There are quieter, more lyrical moments including a pas de deux for dancers locked in a never-ending kiss as their arms and legs link together. But it is the visual spectacle of dance fused with the raw power of heavy metal music that the audience wants and this ballet delivers it in spades.

At several points during the performance we are treated to voiceovers from Black Sabbath members and Sharon Osbourne and learn (to much laughter from the auditorium) about the endless drug-taking and wrecking of hotel bathrooms. There is even a live guitarist – Marc Hayward – on stage and the dancers get to sing too.

Yaoqian Shang and Javier Rojas (Photo: Johan Persson)[Missing Credit]

The set designs are clever: Alexandre Arrechea has created circular neon light boxes suspended from the ceiling, featuring iconic moments from the band’s career. There is also a large metallic demon aloft a wrecked 1970s car – powerful stuff indeed.

In the final act the entire company comes together, performing movements straight out of daily class, but then let loose and crazily enjoy the music. On the opening night, original band member Tony Iommi put in a surprise appearance at the end, guitar blasting, and the Birmingham audience rose to its feet in delight, hailing one of its own.

So has Acosta succeeded – will there be any converts to ballet? Will Black Sabbath gain any new fans? The answers must be a resounding yes. If you think the world of dance is solely populated by Swan Queens, fairies and mad village virgins, think again.