In which MetalTalk have a night out at Black Sabbath – The Ballet and come home, surprised, delighted and all the better for it. Really.
Black Sabbath – The Ballet
Birmingham Royal Ballet
Sadler’s Wells Theatre, London – 22 October 2025
Words: Liz Medhurst
Photography: Johan Persson
Let us get one thing clear, we do not do snobbery of any type here, inverse or otherwise. Great art is great art. People like what they like and need to be left in peace to enjoy it.
Small confession, though, when I first heard that there was a production called Black Sabbath – The Ballet, my eyebrows raised so high they almost got stuck.
I have been a Metaller all my life. Of course, I like other things too, but highbrow culture has simply not featured highly. The only night at the opera I can refer to is the Queen album. Say the word ballet, and I immediately think of Sid Vicious and his “Oi! Freddie! ‘Ave you succeeded in bringing ballet to the masses yet?”
Well, the Birmingham Royal Ballet may be trying to do just that, but still, is this a case of a fusion too far? There have been reams written on the connection between Heavy Metal and classical music, and a strong background of orchestral performances. Yet I could not shake off the feeling that throwing ballet in the mix was going to be as disconnected as Yorkshire pudding with wasabi paste, sweet and sour brussels sprouts, or even Singapore noodles with gravy.
I am eating all my words after what I experienced tonight, though. This was spectacular. 
This is no corny jukebox musical, but three distinct acts each telling a different story through dance and movement, incorporating Sabbath’s music. There are the obvious big popular numbers (War Pigs, Iron Man, Paranoid), of course and some surprises like Laguna Sunrise and Planet Caravan, with everything fantastically arranged and performed with full orchestration.
I am not going to comment on the technical side of the ballet, as I do not know what I am talking about. This is not my area of expertise. From a complete lay person’s view, though, I can tell you it had power, strength and grace. Also beauty, sensuality and physicality to the point that I was not just sold, I was captivated.
A sparse stage set kept the absolute focus on the dance and the music, sometimes having all the company on stage, sometimes only one or two, and the ballet also features guitarist Marc Hayward interacting with the dancers in a way that provoked goosebumps more than once.
The Black Sabbath members and Sharon Osbourne appear as recorded soundbites taken from interviews throughout the band’s career, and everything gels together in a way that it really should not on paper, and with a cringe factor of absolute zero. 
Most importantly, though, the respect given to our culture, our music, was striking. Heavy Metal is treated as an equal art form here. The four men from Aston who grew up with nothing and changed the musical landscape forever are still innovating and delighting today. What a legacy.
As the third act drew to a close with a reprise of Paranoid, I was already thinking what a spectacular night this had been. And then. And then – Tony. Fucking. Iommi.
He is there, larger than life, playing a guitar solo with full orchestral backing and the entire dance company. Worlds collided and instead of disintegrating became super sensory, mutually expanded and enhanced. 
This was totally unexpected. I knew that he had made a guest appearance at the premiere, but had no idea that he would pop up again tonight. Real icing on the cake stuff, what a bonus.
If all ballets are like this, then I can’t believe I have missed out all these years. Apparently, they are not, but whatever. Did I leave feeling proud, moved, and culturally enriched? Hell yeah.
