Black Sabbath – the Ballet review: Don’t be paranoid… ballet and rock combine beautifully

Big hair, eyeliner and… pointe shoes? This exuberant mix of heavy metal and dance was an inspired choice by Birmingham Royal Ballet boss Carlos Acosta

The Birmingham Royal Ballet in ‘Black Sabbath – The Ballet’ (Johan Persson)

There’s an irresistible oomph to Birmingham Royal Ballet’s celebration of Black Sabbath. Saluting Birmingham’s best-known band, the company mix guitar hero antics with big bravura steps and a sense of real affection. It’s an exuberant show, with orchestral-scale heavy metal and, on opening night, a triumphant special appearance from Sabbath guitarist Tony Iommi.

It’s a smart and lively choice by company director Carlos Acosta. Black Sabbath – The Ballet has been an immediate sellout, reaching both ballet and rock audiences. It affirms the company’s links to its home city. And though the show itself can be scattershot, it’s appealingly ready to mix it up.

Instead of a jukebox musical, or a biopic, the three acts look at the band from different angles – each with a different choreographer, with Pontus Lidberg as overall director. The orchestral score, by composers Christopher Austin, Marko Nyberg, and Sun Keting, wraps around the original recordings, onstage guitarist Marc Hayward. The brass and percussion are having the time of their lives.