In three acts, each with an identity of its own, the 2025 production unleashes the music of Black Sabbath, whilst also giving space to ballet at its purest, performed to the beat of metal.

The first act, Heavy Metal Ballet, is opened by the voice of Ozzy Osbourne piercing the air with the lyrics of War Pigs, Sabbath’s anti-war song. Symbols of the occult light up the stage and white mist rises. The effect is electrifying. Robotic-like sequences of dance tell of the band members’ experience of factory work as sounds of Iron Man ring out, its orchestration full of jarring dissonance.

Then a more reflective side of metal music is shown as two dancers are locked together in a kiss to the lyrical strains of Solitude. The act comes to an end with a high-energy, headbanging rendition of Paranoid. Marc Hayward’s brilliant guitar-playing features throughout, its wailing sounds supported by orchestral playing.

Act II tells the story of the Black Sabbath, using voice-overs by band members and Sharon Osbourne. The frustration of four blokes from Aston, rebelling against a system that says they will never get anywhere, is told through angular dance movements that build into frenzy. Tony Iommi’s story of losing the tips of his fingers in a factory accident, medics telling him to forget about playing, is performed by male dancers in a sequence full of anguish to the gentle tones of Planet Caravan.

The final song, Sabbath Bloody Sabbath, is captured in dance that speaks of inspiration emerging after a period of creative impasse. The choreography is remarkable and its performance by BRB’s dancers is stunning.

Act III, titled Everybody is a Fan, is dominated by a metallic demon on top of an upturned metallic car. The band’s disruption to the musical scene and beyond is clear: music of working-class roots is a thing and fans celebrate it for its energy, exuberance and freedom. The heavy beat of Iron Man returns, musical threads from throughout the evening merge, and dancers perform classical ballet movements that are full of passion, poise and pride.

Press night was treated to the appearance of Tony Iommi playing a guitar riff with Marc Hayward. As he did so, the production reached a fever pitch, and Birmingham Royal Ballet’s dancers danced as if there were no tomorrow.

Lead choreographer and artistic director of Black Sabbath – The Ballet was Pontus Lidberg. Original music was by Black Sabbath. Tony Iommi was the music consultant. Lead composer, project music supervisor and conductor was Christopher Austin. The designer was Alexandre Arrechea. The director of Birmingham Royal Ballet is Carlos Acosta.

Black Sabbath – The Ballet is at the Birmingham Hippodrome until 27th September. For further information visit birminghamhippodrome.com