Black Sabbath: The Ballet at Edinburgh Festival Theatre Review
Written by Kerry for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
I’ll be honest from the start; I don’t know much or even anything about Black Sabbath. My only cultural reference is Jackson’s (the brother in Hannah Montana) dressing as Ozzy Osbourne and shouting “SHARON!” a lot. However, “Black Sabbath: The Ballet” doesn’t require its audience to know a lot about them; it even serves as an introduction to the band.
What starts as almost industrial beats, metal clashing against each other, forms an act in which the dancers turn into almost ethereal-like beings, thanks in turn to the black on black costumes and set, compared to the bright white lighting being used. This act focuses more on the stories told through the music, taking multiple lyrical cues from some of Black Sabbath’s hits. But what impressed me the most through this particular act was what I call the locked lips sequence. In which two dancers perform a pas de deux whilst never breaking from a kiss. An impressive feat in itself before you realise how many lifts and complex movements they're able to do, almost like two lovers who aren’t willing to lose a moment and stay how they are forever. On the other hand, I wouldn’t call it an odd choice considering the material; however, this act has a guitarist live on stage. It is obvious the sentiment is there, wanting to bring something extra to the already unconventional piece, but the guitarist really just runs around the stage most of the time. Kinda like how a kid would who has had too much sugar before the school talent show. Personally, I would have liked to have seen the guitarist given somewhat of an arc or more characterisation. It almost felt like a last-minute, rushed decision.
Act Two was where I feel the show peaked, delving more into the expressional and physicality. Focusing on the members of Black Sabbath, interview audio replaces a decent chunk of music, giving audience members like me, who don’t know much about the group, a chance to learn. Unlike the previous act, the dancers are dressed in seventies flares and leather, rooting the audience even more into the world of the band in those glory days. The act works on a level where you understand the preservation and the unwillingness to fail mentality that the band had. The dragging of dancers by their partners across the stage symbolic of how much the group pushed themselves, both physically and mentally, that sometimes their bodies couldn’t take it anymore. The movements of this act felt less classical than the previous, instead presenting an individualistic yet common style. At one point, a human-sized bat figurine sort of prop can be seen almost looming in the background; this only lasts a few seconds but sets the foreground for the third and final act.
The big difference with this is that the wings of the stage being stripped back and on display to the audience. It’s a nice change from the previous two acts, almost like it's trying to widen the audience's minds. There’s an atmospheric difference at this point in the show, like a mass or a concert of worshipping is taking place. This part of the night is about the fans and the legacy of the band they keep alive. The dancers feel more energetic and lighter on their feet, veering on spectacle without landing too cheesy. There is some acrobatics during the act, with the images from a previous act now being turned into larger vinyl record-like rollers, which a few dancers use as a source of travel and others as an improvised stage. At one point in the act, multiple duos dance, but each a somewhat different piece, symbolising how the band affects and even influences different fans in different ways. This continues on into the culmination of the show, where each group from all acts comes together on stage and merges their pieces whilst still providing their own individuality.
In what acts as a performative expressionist piece, a concert and a tribute, “Black Sabbath: The Ballet” creates a new alternate to the classical format, intertwining all elements of the band and its legacy. And just a word of warning, if you’re not used to concerts or really loud music, bring those specialised earplugs, for Black Sabbath, that's not a surprise, but praise.
At Edinburgh Festival Theatre until 1st November 2025.
★★★★
