Jesus Christ Superstar

Pantheon Club was one of the first amateur Clubs/Societies to present “Superstar”, first as a concert version in 1996, followed by the full production in King’s Theatre in the spring of 2003, which was so successful that the theatre (not then managed by ATG) asked them to repeat it in the autumn of that year.  This year’s completely new production surpassed the previous one in many ways.  With a fixed set (by The Border Studio) which gave scope for much movement over various heights, chorus and principals moved perfectly in a series of well thought-out patterns.  Lawrence Sharkey (Jesus) in his first Pantheon role pitched the emotions well, from compassion to anger, and his eventual demise was superb.  I saw the Friday early show — to realise that he had the same again that evening, and two on Saturday showed his strength and skill.  Vicki Robertson (Mary) also pulled out all the stops, with a beautiful rendition, particularly of “I Don’t Know How to Love Him”.  Garry Taylor (Judas) played both sly and contrite, while the denial from Tom Hillis (Peter) showed his dramatic skill.  When Dougie Muir came on as Caiaphas the depth of his bass tones was eerily effective as ‘chief baddy’, and Stephen Jannetts (Annas) showed his sadistic streak convincingly.  At first, Gestapo-like Johnny Collins (Pilate) seemed too mild, too likely to capitulate, but later, with his black leathered, black helmeted henchmen thugs, showed why he had the part.  The violence was very convincing, as was  the crucifixion, with the cross pivoting from the fixed, circular rostrum, and the application of the nails hammering home the tragedy.  Really the only light bits were in the ‘market’ scene, with excellent aerial antics from the long, suspended cloth, and, of course, the Liberace-inspired entry of David Robertson, who eventually transformed himself to a Brynner-like cross-dresser with the strangest high-heeled patent leather boots I have ever seen.  His bald head reflected the colour of his corselette as he performed his OTT number to the delight of the full audience.  In truth, an excellent, well-portrayed production which stirred the emotions so many ways, and left some in the audience drained, which the cast must have been, too, given their exertion and commitment.

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