The Birmingham Royal Ballet (BRB) has made a thrilling debut at the Kennedy Center with its innovative production, Black Sabbath – The Ballet, blending the iconic sounds of heavy metal band Black Sabbath with the sophistication of classical ballet.
This premiere is a testament to the vision of BRB’s Director, Carlos Acosta CBE, and the Kennedy Center’s commitment to supporting unique artistic ventures that challenge traditional boundaries in ballet.
While opinions on the work may vary, its ambition is evident, and it achieves success in several areas, particularly in drawing an eclectic audience of both ballet aficionados and fans of Black Sabbath.
The ballet consists of three acts, each choreographed by different artists, collectively narrating the band’s origins and trajectory, while intertwining a mysterious storyline infused with mythological elements.
The production employs a range of creative strategies, featuring arrangements from three different composers alongside the revered tracks of Black Sabbath, resulting in a visually captivating experience reminiscent of a modern rock concert.
The dynamic use of lighting, special effects like smoke and haze, and elaborate sets contribute to the overall spectacle, with one particularly striking backdrop resembling guitar strings that changed hues and intensity during the second act.
Adding to the performance’s energy is guitarist Marc Hayward, who appears live on stage, embodying the ‘Guitar Spirit’ of metal and enhancing the connection between the music and the ballet. His presence serves to highlight the performance’s objective of delving deeper into the essence of Black Sabbath’s music and its creators.
However, amidst these impressive elements, the choreography occasionally comes across as an afterthought, lacking the depth and creativity one would expect from trained dancers.
For instance, the end of Act I features movement resembling a 1950s sock hop, which fails to harness the full potential of the dancers and the powerful music.
The final act presents fist pumping and air guitar antics, leaving one to ponder whether the dancers should be responding in a more sophisticated manner than typical concert-goers.
Raúl Reinoso’s choreography in Act I stands out, particularly for its distinct style and the intentional awkwardness in the dancers’ movements. Nevertheless, some sequences appeared under-rehearsed, with misaligned turns and spacing issues.
On a positive note, the performance also showcases the dancers’ joy and spontaneity, especially in Act III. First Soloist Riku Ito shines brightly, animatedly embracing the fusion of both ballet and rock, demonstrating that the work does not need to conform to traditional ballet norms.
Running through Sunday, June 8, Black Sabbath – The Ballet may not resonate with every audience member, but it is a bold undertaking deserving of recognition for its creative ambition and execution.
This production exemplifies the Kennedy Center’s dedication to presenting challenging, innovative works that push artistic limits.
As the runtime extends to 2 hours and 20 minutes, including two intermissions, this unique ballet experience offers an intriguing exploration of how two seemingly disparate art forms can intertwine.
It raises the question: how do we know what will work until we attempt it? A production like Black Sabbath – The Ballet proves that experimentation can yield remarkably compelling results, enhancing the cultural fabric of the DC arts scene.
image source from：https://www.broadwayworld.com/washington-dc/article/Review-BLACK-SABBATH-THE-BALLET-at-Kennedy-Center-20250607
